Tag: clothing

Contemporary Fashion: The Minimalist’s Coverbook

Models walk the runway at the 3.1 Phillip Lim Fashion Show during Mercedes-Benz Fashion Week Fall 2015 at Skylight Clarkson SQ. on February 16, 2015 in the Brooklyn borough of New York City.

Introduction

The sense of fashion never goes out-of-date for a true fashionista. Among the Millions of fashion lingos in today’s market , one that often dominantly buzzes around, is the term “Contemporary Fashion”.Meant to describe labels with a designer aesthetic and more accessible price points and we use the term “accessible” loosely, with most pieces averaging out around $500 , the term means big bucks where the fashion industry’s concerned, having become one of the biggest areas people spend their money in the last few years.

What Contemporary Fashion Is

Contemporary apparel is clothing that is accessible, in price and in terms of the way people wear it. The contemporary category often contains more modern-style clothes compared to the higher end luxury market. The voice of the contemporary industry is a bit more modern and a tad younger. Contemporary brands appeal to both the luxury shopper and the new breed of aspirational shopper.  This tier has become a go-to for women who can no longer justify shelling out huge amounts of cash on designer garb. It is also appealing to people bored of regular fashion and who are prepared to spend that little bit extra for something that will last.

A great contemporary brand is one with a unique look and feel. Garments and accessories will have interesting construction details and a good-quality finish. The collections are in line with seasonal trends but also incorporate signature items that consumers immediately recognize and associate with the designer brand.

A Harpen Fashion Show

Is It Futurist: The Sustainability Question

In fashion, the term ‘futuristic’ is often used to describe avant-garde clothing designs. It could refer to several things, such as the clothing’s method of production, the materials used, or the garment’s design. Futurism can even refer to the 20th century Italian art movement, and indeed, this movement addressed the problem of designing fashion for the 20th century. We would learn much by examining Futurist fashions in order to understand its legacy in relation to contemporary fashion designers viewed as futuristic today. This paper will review this legacy by looking at five specific examples—Italian Futurists and their contribution to classless and genderless fashion; French designer Yves Saint Laurent’s iconic minidress inspired by the De Stijl art movement; fashion designed specifically for women with active lifestyles; technological advancement and space exploration seen in the designs of André Courrèges and Pierre Cardin; and advancements in textile manufacturing during the late 20th and early 21st century in relation to Karl Lagerfeld, Donatella Versace, and Hussein Chalayan. This leads to the primary analysis of Iris van Herpen and other contemporary designers including Noa Raviv and Neri Oxman. Their designs will be discussed in relation to the problem of labelling fashion as futuristic.

A Paris Georgia Apparel

Challenges of Contemporary Fashion

The contemporary brands fashion market is clearly brimming with a high level of competition. The up-and-coming contemporary designers are forced to continuously compete with older, established luxury brands in the targeting of the younger generation of consumers. The contemporary market began out of consumers’ need and want to own versatile clothing that could be worn on a daily basis.  Stylish consumers were hungry for locating a head-to-toe outfit that luxury brands create, but could be sold at a more reasonable tag.

Simone Racha Catwalk Show at London Fashion Week

Scopes of Contemporary Fashion

Due to the fact that contemporary brands appeal to several groups of consumers, this industry will continue to see global opportunities. Fashion editors and industry insiders agree that contemporary brands have stolen the limelight and are helping to bridge the gap between luxury brands and main street.

Not only will contemporary labels allow you to up your designer arsenal without forcing you to exist on an exclusively Kraft Dinner diet, but the pieces are also constructed with everyday wear in mind (no couture-like assembly required). Not to mention that contemporary lines still boast that oh-so-coveted designer aesthetic and quality craftsmanship—perfect if you’re looking to break away from the usual suspects in fast fashion retail.

Famous Contemporary Fashion Designers and Their Works

Carven: Founded in 1945 in Paris, Carven has enjoyed a resurgence since the hiring of designer Guillaume Henry in 2009, who transformed the house from old-school couturier into the cool girl’s label du jour.

Carven Spring 2014 ready-to-wear collection
Carven Fall-Winter 2015-16 collection

N°21:  Started in 2010 in Milan by designer Alessandro Dell’Acqua, the brand offers a smorgasbord of whimsical designs that can be effortless.

N°21 Spring- Summer 2018 collection
N°21 Spring-Summer 2021 collection

Jonathan Simkhai: Starting from NYC His first womenswear collection was shown in 2010, where Simkhai debuted his take on dressing for today’s cosmopolitan woman. A master at tailoring oversized pieces to flatter the female form, his designs run the gamut from exaggerated boxer shorts to basketball jerseys.

Simkhai Fall 2017 collection
Simkhai Fall 2020 ready-to-wear collection

Sandro : Launched by husband-and-wife duo Didier and Evelyne Chétrite, Sandro is a well-known and popular brand in the contemporary market.  Since its launch in 1984 (in the Marais district of Paris), the label has gathered a cult following with women charmed by its insouciant, season less separates and rock’n’roll aesthetic. Sandro has stores worldwide in places such as New York and Japan, and a flagship store based in Covent Garden, central London.

A Sandro Store
Sandro Spring-Summer 2021 Menswear Collection

Conclusion

Consumers want to feel like they own something special and unique. They want exclusive quality labels that are not mass produced, yet are still affordable.  It is important to keep in mind that this category is less expensive then higher tiers such as Haute Couture, but the prices are clearly higher than budget collections.The changing demographic of fashion consumers and the rise of contemporary brands. To stay in the game, luxury fashion marketers must compete on a global scale.

Khadi: The Sustainable Fashion of India

Khadi, India‘s own versatile clothing material for ages

Introduction

Khadi, also known as Khaddar ,which started as a symbol of the Swadeshi Movement led by Mahatma Gandhi 100 years ago, is now a fashion statement in India and is gradually getting popular across the globe. Not only as an affordable and comfortable fabric for daily-wears, but also Khadi is now being considered as a Style Statement for its sustainability and eco-friendliness.

Khadi production

Nature of The Khadi Material

Khadi is a textile fabric made by hand-spun and hand-woven cotton, silk, wool or a mixture of these fibres. It is a traditional way of textile manufacturing and is generally produced by rural artisans. The method of manual spinning and weaving makes the fabric structure somewhat rugged and imparts a unique appearance and makes it soft and comfortable to wear. The spinning is carried out on a traditional wooden frame called charkha, while the weaving is done on a handloom. The specific fabric construction helps in circulation of air within the threads and imparts unique property of keeping the wearer warm in winter as well as cool in summer.

Weaving of Khadi

History of Khadi : Role in India’s Freedom Movement

India has an ancient heritage of cloth making based on the availability of natural fibrous raw material such as -agricultural cotton owing to the clement climatic conditions and fertile land, varieties of silk from different sericulture and wool from domestically reared sheep. The textile coloration was carried out using abundantly available natural dyes, derived from various plant and animal extracts. Such flourishing textile base was one of the major attractions for the Western world. After mechanised industrialisation, the situation changed and the basic raw material was exported from India, converted into mill-processed finished cloth and the imported fabric was brought back. This led to the demolition of traditional textile manufacturing in India and eventually the art and craft of fabric making diminished.

During the initial phase of the freedom movement, national leaders like Dadabhai Naoroji and Lokmanya Tilak initiated the Swadeshi Movement to promote Indian-made products. However, it was Mahatma Gandhi who in 1918 brought the focus of India’s freedom struggle to khadi by promoting that as a Swadeshi symbol.

Under the leadership of Mahatma Gandhi, khadi-making regained momentum and became a symbol of revolution and resistance. It also provided employment to the vast rural population of India and achieved distinct identity as a common man’s cloth. As everybody could wear the same form of clothing without any distinctions of class, creed or religion, they could demonstrate solidarity in freedom struggle. Wearing khadi became a matter of national pride and united the population of India by surpassing the divisive system of the region, language, religion, caste, age and gender. It reflected our country’s legacy of sustainable living and self-reliance. The Indian national flag is also made from khadi material.

Khadi making with Charkha, during India‘s Freedom Movement

Government Initiatives After India’s Independence

The Khadi and Village Industries Commission (KVIC) is the Indian government body that promotes khadi, whose production and sale comes under the small scale industry sector. KVIC was created by a parliament act after which many KVIC outlets were opened across the country. These shops sell khadi fabrics and apparel. Every year between October to January, all Khadi Gramodyog Bhavans offer discounts on their products. KVIC also organises exhibitions and trade fairs in the country and abroad to promote khadi.

An estimated 15 lakh people are now engaged in producing over 12 crore metres of khadi. KVIC is taking further steps to enhance its production as the market demand for such products is much more than the supply. A new programme is expected to establish the ‘Khadi Mark’ and a logo to indicate the genuineness of the product. The financial support provided and the political will exerted by the present government and the special emphasis from Prime Minister Narendra Modi has helped boost employment in the manufacturing and promotion of khadi products. Leading film artists, sports personalities and fashion designers have come forward to promote this unique ‘Made in India’ fabric in the global arena.

Khadi used in sustainable fashion

Contribution of Khadi in World Fashion

Considering khadi‘s eco-friendly and natural origin, it has become a focal point of global fashion owing to growing consumer awareness and the consistent demand for sustainability. Fashion designers have acknowledged the aesthetic appeal and comfort attributes of khadi and experimented it in blending with many other stuff to synergistically enhance the fashion appeal and outlook of products. Khadi is now used in denims, jackets, shirts, dress material, stoles, home furnishings and apparel accessories like handbags. Khadi, once considered as the fabric for political leaders and the rural folk, has entered the wardrobe of the fashion-conscious urban population. Wearing khadi now symbolises affluence as it offers a distinguished look. The ecological aspect and ethnic looks of khadi have caught the fancy of global brands and leading fashion designers have started including khadi material in their collections.

Global acceptance of the Khadi in fashion

Conclusion

Incorporating Khadi in our daily life may also pave the way for a simple spiritual living exuded by our clothing and home décor items. Khadi being such a versatile fabric can be easily incorporated, by changing the warp and weft, in a home decor and clothing lines. This will make us come closer to nature and add a touch of earthiness in our lifestyle.

Dhakai Muslin: The Exclusive Bengal Silk from The Past

A portrait illustrating how Transparent Muslins were

Introduction

Muslin today has come to mean almost any lightweight, gauzy, mostly inexpensive, machine-milled cotton cloth. The word has lost all connection to the handwoven fabric that once came exclusively from Bengal. Cotton, stated the historian Fernand Braudel, was first used by the ancient civilizations on the Indus, while the art of weaving itself has been traced back to much earlier times. This head start perhaps was why ancient India became proficient in making cotton textiles. They became a staple export commodity to the Roman Empire, and they expanded in volume in the Middle Ages with the growth of the “maritime Silk Road” in the Indian Ocean.

Historic Background

Muslin a brand name of pre-colonial Bengal textile, especially of Dhaka origins. Muslin was manufactured in the city of Dhaka and in some surrounding stations, by local skill with locally produced cotton and attained world-wide fame as the Dhaka Muslin. The origin of the word Muslin is obscure; some say that the word was derived from Mosul, an old trade centre in Iraq, while others think that Muslin was connected with Musulipattam, sometime headquarters of European trading companies in southern India. Muslin is not a Persian word, nor Sanskrit, nor Bengali, so it is very likely that the name Muslin was given by the Europeans to cotton cloth imported by them from Mosul, and through Mosul from other eastern countries, and when they saw the fine cotton goods of Dhaka, they gave the same name to Dhaka fabrics. That the name Muslin was given by the Europeans admits of little doubt, because not only Dhaka cotton textiles, but cotton goods imported by the Europeans from other parts of India like Gujrat, Golconda, etc were also called Muslin.

The route connecting the Hubs of Muslin Industry in Bengal

How Muslins Were Made

The textile industry of Bengal is very old. Bengal cotton fabrics were exported to the Roman and the Chinese empires and they are mentioned in Ptolemy’s Geography and the Periplus of the Erythraean Sea, and by the ancient Chinese travellers. But Dhaka Muslin became famous and attracted foreign and transmarine buyers after the establishment of the Mughal capital at Dhaka. The Muslin industry of Dhaka received patronage from the Mughal emperors and the Mughal nobility. A huge quantity of the finest sort of Muslin was procured for the use of the Mughal emperors, provincial governors and high officers and nobles. In the great 1851 Exhibition of London, Dhaka Muslin occupied a prominent place, attracted a large number of visitors and the British Press spoke very highly of the marvelous Muslin fabrics of Dhaka. Weavers in Dhaka, Bangladesh, used to make this incredibly fine cloth using a method called the discontinuous weft technique. This technique required the weaver to work two layers of weft – one as fine as spider’s silk to hold the cloth together and the other forming the pattern. Each pattern motif was worked individually, using fine bamboo sticks to interlace the pattern threads with the warp threads.

Weaving of Muslins under the supervision of royal official( Painting, in 1800s)

Types And Variations

The finest sort of Muslin was made of phuti cotton, which was grown in certain localities on the banks of the Brahmaputra and his branches. The other kinds of cotton called bairait and desee were inferior and were produced in different parts of Dhaka and neighbouring areas; they were used for manufacturing slightly inferior and coarse clothes.The productions of Dhaka weavers consisted of fabrics of varying quality, ranging from the finest texture used by the highly aristocratic people, the emperor, viziers, nawabs and so on, down to the coarse thick wrapper used by the poor people. Muslins were designated by names denoting either fineness or transparency of texture, or the place of manufacture or the uses to which they were applied as articles of dress. Names thus derived were Malmal (the finest sort), Jhuna (used by native dancers), Rang (of transparent and net-like texture), Abirawan (fancifully compared with running water), Khasa (special quality, fine or elegant), Shabnam (morning dew) Alaballee (very fine), Tanzib (adorning the body), Nayansukh (pleasing to the eye), Buddankhas (a special sort of cloth), Seerbund (used for turbans), Kumees (used for making shirts), Doorea (striped), Charkona (chequered cloth), Jamdanee (figured cloth). The finest sort of Muslin was called Malmal, sometimes mentioned as Malmal Shahi or Malmal Khas by foreign travellers. It was costly, and the weavers spent a long time, sometimes six months, to make a piece of this sort. It was used by emperors, nawabs etc. Muslins procured for emperors were called Malbus Khas and those procured for nawabs were called Sarkar-i-Ala. The Mughal government appointed an officer, Darogah or Darogah-i-Malbus Khas to supervise the manufacture of Muslins meant for the emperor or a nawab.

A real Muslin dress exported to England from colonized India

Areas of Production

Weaving was prevalent in the Dhaka district in almost every village, but some places became famous for manufacturing superior quality of Muslins. These places were Dhaka, Sonargaon , Dhamrai, Teetbady, Junglebary and Bajitpur.

Why It Was So Exclusive

The finest of Muslins were honoured with evocative names conjured up by imperial poets, such as “baft-hawa”, literally “woven air”. These high-end muslins were said to be as light and soft as the wind. According to one traveller, they were so fluid you could pull a bolt – a length of 300ft, or 91m, through the centre of a ring. Another wrote that you could fit a piece of 60ft, or 18m, into a pocket match-box. Dhaka muslin was also more than a little transparent.

Muslins were adored by the elites

How The Industry Was Lost

Unfortunately, during the period of the East India Company, European manufacturers all but destroyed the industry by flooding the market with factory produced muslin equivalents. Through a combination of punitive taxes on locally produced textiles and the dissolution of local and influential patrons, Jamdani muslin became uneconomical to produce and the skills were almost lost.

Conclusion

Thankfully, there are organisations in Bangladesh today that are encouraging local weavers to continue to practice their craft. Coupled with the UNESCO listing of Jamdani muslin on its Representative List of the Intangible Cultural Heritage of Humanity, there is more impetus to continuing production, albeit on a very small scale. With the proliferation of mass produced and synthetic fabrics on the market today, it is important that these historical techniques aren’t lost forever. No factory can ever emulate the quality arising out of a skilled artisan. Their skills are part of our textile heritage and it’s wonderful they are being recognised and preserved.

Council raises GST on low-cost footwear, garments to 12%

In its first physical meeting in two years, the GST Council on Friday effected several long-pending tweaks in tax rates including an increase in the GST levied on footwear costing less than ₹1,000 as well as readymade garments and fabrics to 12% from 5%.



The new rates on these products, a decision on which had been deferred by the Council over the past year owing to the pandemic’s impact on households, will come into effect from January 1, Finance Minister Nirmala Sitharaman said.

The Council approved a special composition scheme for brick kilns with a turnover threshold of ₹20 lakh, from April 1, 2022. Bricks would attract GST at the rate of 6% without input tax credits under the scheme, or 12% with input credits.

While this will please States like Uttar Pradesh that had sought a special scheme for brick kilns, a decision on extending such a scheme for other evasion-prone sectors like pan masala, gutkha and sand mining was put off.


The Council also decided to extend the concessional tax rates granted for COVID-19 medicines like Amphotericin B and Remdesivir till December 31, but similar sops offered by the Council at its last meeting in June for equipment like oxygen concentrators will expire on September 30.

The GST rate on seven more drugs useful for COVID-19 patients has been slashed till December 31 to 5% from 12%, including Itolizumab, Posaconazole and Favipiravir. The GST rate on Keytruda medicine for treatment of cancer has been reduced from 12% to 5%.

Life-saving drugs Zolgensma and Viltepso used in the treatment of spinal muscular atrophy, particularly for children, has been exempted from GST when imported for personal use. These medicines cost about ₹16 crore, Ms. Sitharaman said.

Food delivery tax shift:
The Council also decided to make food delivery apps like Swiggy and Zomato liable to collect and remit the taxes on food orders, as opposed to the current system where restaurants providing the food remit the tax.

Revenue Secretary Tarun Bajaj stressed this did not constitute a new or extra tax, just the tax that was payable by restaurants would now be paid by aggregators. Some restaurants were avoiding paying the GST even though it was billed to customers.

“The decision to make food aggregators pay tax on supplies made by restaurants from January 1, 2022, seems to have been done based on empirical data of under reporting by restaurants, despite having collected tax on supplies of food to customers,” said Mahesh Jaising, Partner, Deloitte India.

“The impact on the end consumer is expected to be neutral where the restaurant is a registered one. For those supplies from unregistered, there could be a 5% GST going forward,” he added.

Aircraft on lease:
The GST Council has exempted Integrated GST levied on import of aircraft on lease basis. This will help the aviation industry avoid double taxation, the Finance Minister said, and will also be granted for aircraft lessors who are located in Special Economic Zones.

Goods supplied at Indo-Bangladesh border haats have also been exempted from GST.