THE FASHION DESIGNER ON HER INSPIRATIONS, SECRET TO LUXURIOUS STYLE AND COLOURFUL NEW COLLECTION.
ACCLAIMED Indian fashion designer Masaba Gupta has been in tune with the modern day
woman and those who wear her outfits exude impressive power.
The big-thinking design genius has done that again with her striking and unique latest collection, which is the perfect combination of luxury, power, comfort and accessibility. The collection continues her run of eye-catching outfits aimed at a diverse clientele of all ages.
Eastern Eye caught up with Masaba to talk about her amazing fashion journey, eye-catching latest collection and forthcoming trends.
How do you look back on your journey in fashion so far?
It has been quite something because I’ve had the privilege of finding success both commercially and creatively in something I love doing. More than that I have had the power to take my own decisions. I’m just grateful to get the applause and appreciation for something I enjoy doing every day.
What is the secret behind maintaining such a high standard?
I don’t think about it very much. I feel like when you try too hard to make things look a certain way or take yourself too seriously it reflects on your work. I am someone who takes myself lightly, but takes my work very seriously.
The other thing is that with each collection we think about how we are moving forward. It’s not just about doing a collection, colours or print that people have liked. It is about giving them that extra something they didn’t really expect. In that sense we are seen as leaders, as opposed to people just churning out collection after collection. They see us as
people trying to do something new, experimenting and giving people a choice of a wardrobe that could be different from what they usually get. I think that is
why people keep coming back.
Do you ever feel pressure?
Yes, I feel the pressure all the time. It sometimes gets to me and at other times, I don’t let it get to me. I feel like if I didn’t have that pressure I wouldn’t be doing my best work. It is easy to become complacent and think that now this is running on autopilot. But the pressure of delivering and making people really believe that we can constantly do these things is something that keeps me going. But I also think about it on days I should think about it because doing work out of pressure can kill the creative process in a big way.
Today where do you draw your fashion inspirations from?
My mum (Neena Gupta) has been a constant source of inspiration. Also, my surroundings do have a lot to do with how I am feeling at a given point of time. It could have a lot to
do with an incident that might have happened in my life, be it a place I travelled to and how it made me feel. It could be music, a piece of poetry, a song or anything. Inspiration is all around me.
Tell us about your latest collection, which is very striking?
That is actually something we worked on excessively because it is one of the larger, heavier collections we have done. So the idea was to give women a really fun, comfortable, yet inspirational wardrobe for the festive season.
India is a market driven by weddings, festivals and celebrations, so we wanted the clothes to reflect that. There is a lot of fusion in my work and it is about two different worlds coming together. So, yes, they are striking and unique, but also extremely comfortable. That for me is what luxury is. It shouldn’t be intimidating and should be something
people can touch, feel and own a part of.
There is a girl power element in the clothes. Was that intentional?
Girl power is something that has become a part of my being. Everything I do and say on social media has, in a way, become a little bit of a movement for women. I believe that the way women dress says a lot about them. The kind of things they pick to wear on a day-to-day basis says everything about how they feel.
There are different pieces for different kinds of women in the collection. There is something for someone older, quirky, very sophisticated; someone who doesn’t like colour at all; someone who loves colour and more. That, to me, is what girl power is – to be able to dress as per the way you are feeling. That is why we have so many different emotions in the clothes.
How does London compare to other cities in terms of fashion?
What I love about London is that it is a very earthy, relaxed city, but they are also very fashion conscious. With London a lot of thought goes into what they are wearing. It is clean, practical clothing and Londoners think a lot about the weather when dressing up. A lot of practicality goes into the way people dress in London.
You inspire others with your designs, but what inspires you in terms your own outfits?
I am really inspired by comfort. I don’t think I would be caught dead in something that is too tight and body hugging, and something that makes me feel not like myself. I feel my best when I am most confident and comfortable in my own skin, when I am wearing baggy, oversized clothes. I feel that gives me a lot of room to breathe and think clearly. It’s important I am inspired by my mood and state of mind. I am also big on fitness; so looking
after myself is also a big inspiration for me.
What are your fashion predictions for 2019?
Fashion will largely be driven by comfort and also be about personal expression as opposed to what trends dictate.
I don’t think people will look at trends any more because people are taking a lot of time to
understand themselves, including their bodies, who they are and what they say with their clothes. As a trend that is something that will move forward in fashion and will become sustainable because that is the way global fashion is going. People will become more conscious about what they wear and fabrics. Everything will become about consciousness and awareness in the future with respect to fashion.
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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