Tarun Tahiliani dwells on the timeless relevance of Indian drapes,
Amit Aggarwal opens up on breaking norms of tradition...
Drape
All Indian fashion came from draping of textile. Drapes have been a part of the Indian landscape since time immemorial. Be it the sari, dhoti or lungi. Worn in myriad of ways across the country the draped form has been an integral part of traditional dressing in the country. It has been used to convey style, been adapted for the climate, draped around the shoulder, waist and worn as turbans — we at the Tarun Tahiliani design studio have taken these age old draping traditions and translated it to create elegant but contemporary styles.
These traditional drapes have been an inspiration from the very beginning and melds very well with the brands philosophy — India Modern: a brand with a view in the present moment, but, ultimately much steeped in the Indian traditions of draped form and the techniques that millions of Indian craftspeople imbibe with love. Our silhouettes combine western notions of cut, construct and finish but using Indian heritage and craftsmanship.
Drapes have always and will always be a very important part of our collection. As a fashion house, we cater to the modern Indian woman, who is aware of traditions, yet very strong in her individual style statement. Who, because now she wears some Western clothing has a very strong idea of fit and finish, but yet wants to be Indian in a contemporary way. So the drape has also evolved over the years and has been transformed into dhoti pants, dresses, skirts and concept sarees with structure and form combined with zips and buttons that allows you to follow tradition while being relevant to contemporary demands of structured style and comfort. A perfect innovation for the modern Indian woman always on the run.
Structure
It’s quite often that the pieces from our studio are perceived as structural. In all honesty, I don’t look at them the same way; neither do I associate structure as a synonymous word with our collections.
Yes, I understand for an onlooker, especially the one who has seen our work only in pictures, the visual effect is very daunting, almost rigid and immobile. But when you see them move and the way they sit next to the body, the preconceptions evaporate and what is left behind is just a feeling of lightness.
My work has been a constant effort in bringing contrasts together — be it man and nature, organic and synthetic, fallible and strong, real and unreal, lightness and form. I think therein lies the mystery behind the pieces that come out. How two such opposites coexist harmoniously.
How can something as fragile as handwoven Chanderi be made to have a form; how can a tattered piece of handwoven saree be strengthened; how can a traditional blockprint, originally done on a natural fabric be done on plastic; how can recycled waste be made to look exquisite and expensive through indigenous workmanship; how a drape can be made soft and yet be moulded smoothly?
I think in all beauty, I like strength over structure. I like to break norms of tradition and superimpose it with the modern and unseen. I like to follow a language and mutate it with my own language.
The collections that we make are not about structure, I think they are more about strength. Of course, the fluidity and movement of drapes have a sense of romanticism too and the studio continuously works around that aspect as well.
My inspiration is in correctness of form as much as it is in the fine beauty of the flawed.
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 "Drape-Structure")
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