“BORO” – Autumn /
Winter 2013
14th March
2013
AT WILLS LIFESTYLE INDIA FASHION WEEK
Loosely
based on the concept of “BORO”, mended or patched textiles used as items of
clothing in Japan
by the peasants, merchants or artisans. Boro was born out of the forgotten values
of “mottainaia” or “too good to
waste, an idea lacking in the modern consumer lifestyle. Sewn together over
generations, family sagas were woven through the threads.
The Fall/winter
2013 is a patchwork of stories with a distinct ethnic-contemporary look rooted
in India and based on visual references from the Boro-Boro , mended and patched textiles of Japan, the Kimono, the fine weaves of the Dhakai Jamdani / muslin from Bengal, the
textures of Malkha cotton and Khadi from the Gudi-Mudi project of Central India.
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The
collection takes the path of a traveler who brings back various items of
clothing from the different regions she has traveled, accumulating memories
along the way. The ensembles borrow from cultures in and around India though
not hinting at any in particular. Nothing overtly traditional, the aesthetics
is “arty” with each ensemble being interpreted differently with each layer; perfect
for a well-travelled audience.
More details :
The first
story uses handspun, hand-woven and naturally dyed fabrics from the Gudi-mudi Khadi project of Central India under Womenweave where women are trained
and provided a sustainable employment. In monochromes of Black – Kora /
offwhite and shades of grey it brings back silhouettes like the Kimono and the Kosode which is an essential part of a Japanese peasant and
working-class wardrobe. The textures of these fabrics are in monochromes of
Kora-grey-black, almost reminiscent of “scribbling” or “doodling” on paper.
The
second story uses Malkha khadi and
textures in colours of Indigo, Browns and black with green / “taxi yellow” as an accent , it brings back the almost
forgotten technique of “French knot” embroidery in wool. The almost masculine
pin-stripes are used in silhouettes like the jacket-dress, shirt dresses, achkans,
loose flowing kurtas, kaftans and capes.
The
third story uses Dhakai jamdani
textiles from around West Bengal with its
delicate multi-colour placement butas that add the accent colours to the
collection in shapes like the quintessential Indian kurta, shirt dresses, tunics
and stoles. The silk scarves in this story are inspired from archival textiles
from different regions in India.
The
print story uses motifs from the Indonesian batik vocabulary and is shaped into
kallidar kurtas and shift dresses.
Footnote :
The
BORO concept of mending and patching up old items of clothing and making it
last for years is almost reminiscent of the “Sujni Kantha” technique in India
(especially around Bengal / Bihar ). Nowadays “kantha” is used as a decorative and
commercial piece (only/ usually) while originally it was meant to function as
so much more ….Meaning rags, it used the most simplest of stitches – the
running stitch to join / patch old layers of sarees and make quilts etc, mainly
functional and born out of necessity.
This
collection takes off from BORO but leads you to newer roads!
