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What does it mean to sustain a creative practice across different mediums? In this episode of The Creators’ Loft, Aniruddh Mehta and Tosha Jagad talk about creative discipline, evolving identities, and the everyday realities of working between digital design and handmade craft. From inspiration and creative blocks to business anxieties and long-term practice, the conversation moves between process, patience, and persistence.

What We Discuss:

00.00 Introduction

00.26 Path 1: Discovery

10:37 Path 2: Unblur

12:40 From studying Graphic Design to leading your own studios, how has your journey evolved?

26:14 Path 3: Perspective

29:11 Building a Network VS Building a Strong Portfolio

For feedback and suggestions, reach out to us at podcast@blurtheborder.com

As always, thank you for tuning in!

Beyond Borders

How Collaborations With Global Brands Take Shape

Founders of five brands take us behind the scenes of their recent collaborations with global brands.

Aneeth Arora of péro

Kanika Goyal of KGL

Mriga Kapadiya of NorBlack NorBlack

Dhruv Khurana of Almost Gods

Harshit Agarwal of Pistabarfi

by Manica Pathak

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Over the last decade, India’s creative community has stepped firmly into the spotlight, with a growing number of artists and designers making their mark both at home and on global stages. Today, as momentum builds, the homegrown industry is not only finding new visibility but also being recognised for its unique design language and capacity for innovation—qualities set to evolve further rather than fade away as a passing fad. Along the way, this shift has also opened doors to large-scale collaborations with global names such as Nike, Puma, G-SHOCK, Hello Kitty, and Disney.

“I really don’t think there’s a one-size-fits-all formula. For us, it’s always been about doing what we genuinely believe in and having fun with it. That way, it never feels like we’re trying to impress anyone or follow a trend,”

– Harshit Agarwal, Founder- Pistabarfi

From First Conversations to Creative Synergy

While collaborations are quite well-known and mainstream for consumers today, for emerging brands and young creatives, it can still be a complex and layered journey to navigate. And in a landscape where both fresh brands and global players are becoming increasingly eager to partner, seeking fresh audiences, new markets and creative dialogues that push boundaries, the real question is what does it take for a brand to find the right partner, and enter a collaboration? Behind the scenes, where do the first conversations begin, who takes the initial steps, what are the key learnings along the way, and, in hindsight, what approaches could have been different? Blur The Border takes a closer look. Ahead, we speak to five founders: Aneeth Arora of péro, Kanika Goyal of Kanika Goyal Label, Mriga Kapadiya of NorBlack NorWhite, Dhruv Khurana of Almost Gods, and Harshit Agarwal of Pistabarfi, who weigh in on this with a unique insight shaped by their individual experiences. However, there is shared wisdom among all: building an unshakable identity of your own and recognising that shared values are the glue that holds a collaboration together.

As a first step, NorBlack NorWhite co-founder Mriga Kapadiya recalls the importance of taking time to build a clear brand identity long before their collaboration with Nike, which showcased the label’s celebrated take on regional crafts in a limited collection of sportswear staples. “We’ve spent 15 years building and rebuilding all aspects of our world, and it felt like the right moment to execute this collaboration without compromising our identity. It’s noisy out there, so be clear, so nothing can shake you,” she notes.

Founders Dhruv Khurana of Almost Gods and Kanika Goyal of KGL emphasise similar viewpoints on shared values as one of the cornerstones of any collaboration. “Start by aligning on values before anything else. Aesthetic synergy and amplified reach are important, but it’s shared belief systems that make the collaboration durable. When both brands are clear about what they stand for, the rest of the process feels intentional from start to finish,” says Dhruv, whose brand Almost Gods became the first Indian collaborator with G-Shock through a 250-piece limited-edition collection of watches inspired by the raw power of a volcanic eruption. In context to KGL’s collaboration with Disney, which gave Mickey Mouse fans worldwide a 114-piece capsule collection in the label’s edgy Indian spirit, Kanika shares, “The most important thing is choosing the right partner–whose values, ethos, and creative language align with yours. The synergy has to be genuine, not forced.” She continues, “Once that’s in place, the next big challenge is maintaining the integrity of both worlds without diluting either. It’s about finding that sweet spot where your vision and theirs can coexist in a way that feels fresh and cohesive.”

Aneeth Arora, founder of péro, builds on these insights. Reflecting on her label’s collaboration with Hello Kitty, which produced over 100 designs blending cottagecore and kawaii styles across womenswear, menswear, and kidswear, she emphasises that a collaboration must also be driven by deeper intent rather than market optics. She says, “Focus on creating something that tells a shared story. Invest time in research, understanding the collaborator’s world, and find ways to bring your unique craft or perspective to the table. When both brands connect emotionally and creatively, the result resonates far beyond the product.”

“Focus on creating something that tells a shared story. Invest time in research, understanding the collaborator’s world, and find ways to bring your unique craft or perspective to the table. When both brands connect emotionally and creatively, the result resonates far beyond the product.”

– Aneeth Arora, Founder-Pero

How Clarity and Authenticity Attract the Right Collaborators

Meanwhile, Harshit Agarwal, co-founder of Pistabarfi, offers a different take on this following their collaboration with Puma. It brought fashion and food culture together, pairing Puma’s Palermo sneaker launch with mithai packaging designed in the same colour palette. The result was a nostalgic yet contemporary collectable that spoke to sneaker enthusiasts and dessert lovers alike. For Harshit, it’s a reminder that collaborations don’t follow a linear path or a fixed rulebook. “I really don’t think there’s a one-size-fits-all formula. For us, it’s always been about doing what we genuinely believe in and having fun with it. That way, it never feels like we’re trying to impress anyone or follow a trend,” he says. But eventually, it is the foundations that quietly do the heavy lifting over time. “Be clear about what you’re doing and why you’re doing it. Even if you’re still figuring it out, enjoy the process.

When your work reflects something honest or original, the right people will find their way to you. That’s when collaborations feel real and exciting, not just something you’re chasing for the name.” After identity, values, intent, and authenticity are in place, it also comes down to how the collaboration is presented to the audience. Kanika points out further, “Never underestimate the power of visual communication. Your imagery, your storytelling, and your tone become powerful tools in helping audiences navigate and understand the collaboration. Building a strong visual vocabulary is just as important as the product itself. It’s what transforms a partnership into a narrative.”

But then, where does it all begin? Who takes the first steps? For many brands, it wasn’t born from actively chasing such partnerships. Instead, they took shape organically, with global names drawn toward each of their unique design language, a quality that has perhaps become one of the strongest suits of homegrown labels today. Aneeth recalls, “Sanrio approached us during Hello Kitty’s 50th anniversary, coinciding with Péro’s 15th year.” Similarly, Nike had reached out to NorBlack NorWhite in 2023. “They were interested in building a relationship and supporting our work,” emphasises Mriga. Dhruv looks back, too.

“G-Shock has been this voice in the cultural zeitgeist globally for the longest time; the idea ignited the 5-year-old in us,” says Dhruv. For Harshit, too, “It came about quite organically. We were working on a new drop for Pistabarfi, something fun, a little irreverent, rooted in nostalgia but designed in a more playful, accessible way. Around the same time, Puma was gearing up for new Palermo drops,” he shares, adding that the global activewear giant was looking to collaborate with homegrown brands that aligned with their ethos.

“The key was figuring out the story we wanted to tell. It had to speak to the brand, convey that sense of power and yet feel special in the context of G-SHOCK’s global catalogue and collaborations library,”

– Dhruv Khurana, Founder-Almost Gods

How Global Collaborations are Evolving to Engage with India’s Creative Depth

What’s equally fascinating beyond the initial steps and the broader arc of these recent collaborations is the clear shift in how global brands are now engaging with India. They aren’t just tapping into ‘Indian aesthetics’, but also acknowledging the multifaceted design, language, and storytelling that brands today have to offer. Although NorBlack NorWhite’s collaboration with Nike showcased the label’s celebrated use of traditional Indian dyeing techniques, its true intent was to explore something deeper. “Nike offered us the chance to collaborate on their first women’s collection coming out of India,” shares Mriga. “Before we even began designing, they took us on an incredible retreat to Australia with 30 other artists and designers from around the world who were also part of the Nike family,” signalling that more than just design, it was about building a creative community.”

Kanika Goyal Label’s collaboration took a more personal turn, rooted in the collective nostalgia surrounding Mickey Mouse, a character whose cultural resonance spans generations. “What excited me most was placing Mickey against the vibrancy and chaos of Indian craft and storytelling. For me, Mickey and his friends weren’t just animated characters from childhood—they were emotional placeholders, symbols of joy, mischief, and comfort. This collaboration was about creating something that feels visually unexpected yet deeply rooted in where I come from,” she shares.

Reimagining traditional mithai without being stuck in convention or altering its original essence is what intrigued Puma to approach Pistabarfi.“Both brands shared a similar spirit, taking something classic and giving it a fresh, cool spin.” Referring to their Mysore Pak in a can and Aam Papad strips for this collaboration, he continues, “Our products already existed. The only thing we adapted was the packaging to match the Palermo sneaker colours. That meant tweaking materials, finishes, and getting the visual tone right. “We’re building a new way for people to experience mithai. The Puma collab was just one example of how that idea can live in different contexts.”

Even then, what we see is only the surface of a much deeper creative exchange. While bringing a collaboration to life involves similar stages, including extensive research, concept building, design development, and constant refinement, the real advantage lies in knowing there’s no fixed playbook. Some may unfold over years, others in just a few months. But what makes them work is not speed; it’s the message you are putting out. “The entire process took about a year, from our first internal brainstorming sessions to getting final approvals from the G-SHOCK global team. The key was figuring out the story we wanted to tell. It had to speak to the brand, convey that sense of power and yet feel special in the context of G-SHOCK’s global catalogue and collaborations library,” says Dhruv. For Pèro, although the entire process spanned nearly two years, “A focused eight-month phase was dedicated to developing over 100 designs. We began with research and concept building, aligning Hello Kitty’s playful charm with péro’s artisanal ethos, perfecting details through embroidery and appliqué techniques,” says Aneeth.

Interestingly, the Pistabarfi x Puma partnership moved quickly, over 2 months, but with equal attention to detail. “Once we had a rough idea of the products, the packaging discussions began—bringing the Palermo colours into our design and figuring out the Puma x Pistabarfi logo in Devanagari, which went through several iterations,” says Harshit. “Then it was about refining the products and packaging—focusing on Aam Papad and Mysore Pak, perfecting the details from the paper and foil to how the pack opens, and finally, visually blending the ethos of Puma and Pistabarfi into something cohesive and fun.”

“There are a lot of different respective roles, a lot of time zones, a lot of regions to consider, as this was a global launch and the army of humans it takes to make all decisions from small to big. Overall, we learned the timeline challenges that can come with operating at such a large scale; however, the impact a project has because of its scale is unmatched.”

– Mriga Kapadia, Founder-NorBlack NorWhite

Scaling Creativity: Lessons from Going Global

For young brands aspiring for global collaborations, founders look back on what it takes to operate at scale. Kanika describes it as “a fascinating window into the inner workings of the Disney universe—its storytelling structure, its visual discipline, and its global resonance.” One of the key highlights for the founder was realising the emotional depth of the Disney brand across generations. “We weren’t just designing for die-hard fans, but also for people who had once felt connected to those characters and might have drifted away. We wanted the collection to speak to both—those who love Disney with all their heart, and those who remember it fondly but connect more with a modern reinterpretation.”

For both Pèro and Almost Gods, it led to fresh new insights about their respective consumer base. “It reaffirmed how much our audience leans into intention. The more we revealed about the story behind the design, the more it resonated. People didn’t just want to see the product; they wanted to understand it and connect with it,” says Dhruv. Echoing the sentiment, Aneeth shares, “We discovered how versatile our audience is, embracing both subtle and playful designs and learned to navigate strict brand guidelines while staying true to our creative voice. Most importantly, it reinforced that a collaboration rooted in shared values can create an emotional connection far beyond the garments.”

For Harsh, “The primary difference was the structured, multi-level approval process that comes with working with a large brand versus an individual,” he notes. But in the end, fundamentals should remain intact, “Clear communication, meeting timelines, and delivering a high-quality product. It’s about doing the basics well and staying consistent,” he emphasises. On a similar note, Mriga expands further, “There are a lot of different respective roles, a lot of time zones, a lot of regions to consider, as this was a global launch and the army of humans it takes to make all decisions from small to big. Overall, we learned the timeline challenges that can come with operating at such a large scale; however, the impact a project has because of its scale is unmatched.”

“The most important thing is choosing the right partner–whose values, ethos, and creative language align with yours. The synergy has to be genuine, not forced.”

– Kanika Goyal, Founder-Kanika Goyal Label

Beyond the Collaborations: Lessons in Hindsight

Even as the outcomes bring a sense of pride, hindsight naturally invites reflection on what might have been done differently. For some, it was about allowing more innovation and streamlining the process, while for others, it was prioritising marketing. “This would have given us more time to explore experimental craft techniques, like weaving or 3D surface textures, which we had to simplify due to tight timelines. It showed us the impact of creating an experience. Next time, we’d integrate interactive elements — installations, digital experiences, playful narratives — from the start, to push the creative and operational boundaries even further,” says Aneeth.

Dhruv reflects on this as an inevitable part of any meaningful project, “You’ll always look back and find things you might refine — whether that’s streamlining the process, building more touchpoints, or thinking bigger in execution. Overall, we’re proud of what both teams created together. The collaboration gave our community something that feels true to both brands. The love the collection received made it all worth it.” Meanwhile, Mriga shares that the importance of digital visibility matters more than ever “Spend more time on the marketing, PR, and distribution strategies,” she says.

What ultimately becomes clear through these conversations is that the new wave of collaborations is no longer about borrowing ‘aesthetics’ but about building shared worlds, and this is what will lead the way forward. They demand clarity of identity, patience with process, and an openness to experiment. For young homegrown brands, the message is unmistakable: when identity and intent are strong, the right partners and opportunities follow. These are encouraging signs of a community growing more confident, shaping collaborations that blur borders, carry India’s creative language onto a global stage, and leave us eager for what’s on the way.

Is Age-appropriate Dressing Still A Thing?

Diverse age groups weigh in on whether the idea is alive or extinct

By: Neharika Manjani

In 2015, Madonna, at age 56, broke the internet by gracing the Grammys’ red-carpet in a Givenchy bodysuit paired with fishnet stockings. Toward the tail end of the same decade, Jennifer Lopez, mere months after turning 50, closed Versace’s spring 2020 show in a barely-there, palm-printed gown which she first wore almost 20 years ago. Not too long after, in 2021, Helen Mirren made headlines for her far-from-subtle fashion choices at the Cannes Film Festival–the award-winning actress, who was 75 years old at the time, donned a hard-to-miss, sunshine yellow dress. If you look closely, you’ll find that closer to home too there are several stars–Shilpa Shetty Kundra and Malaika Arora to name a few–who have successfully proved that growing older doesn’t always involve a shift towards modest or safe fashion. However, while the idea of age-appropriate dressing is routinely challenged by celebrities on red-carpets and runways across the globe, is it as easy to do away with in everyday life? We got a diverse set of names–mental health experts, stylists, influencers and more–to weigh in.

POV 1

Look up the term “age-appropriate fashion”, and your search will return countless guides on how to dress for every decade of your life. Each one of the articles that fills up your screen will suggest that as you age, your appetite for sartorial risks reduces greatly. But, 67-year-old influencer Manjri Varde’s Instagram profile, which is peppered with bright hues, striking prints and silhouettes as varied as saris and skirts, tells an entirely different tale. “The feeling of being old or senior and, therefore, restricted is fading. I dress as I please, and age has nothing to do with the way I present myself in society or on social media,” says Varde who has amassed close to 150k followers for both her light-hearted content and out-of-the-box outfits. Chhaya Momaya, mother and image consultant, echoes this sentiment. “No fashion item comes with a tag which says that it’s meant for a 50-year-old or a 20-year-old. It doesn’t matter how old you are, what’s most important is that the outfit works for you,” she says. Her point of view is supported by her wardrobe which makes room for everything from staggering stilettos to items from Gen Z-loved labels–one of Momaya’s latest purchases is a Balenciaga jacket that doubles up as an oversized dress.

Today, several brands, whose offerings could have easily been confined to a certain age group, appeal to individuals from various generations. For instance, during Alessandro Michele’s tenure at Gucci, we saw a trend called “granny chic” pick up pace. While the aesthetic focused on fashion from the past such as vintage florals and pussybow blouses, it still attracted consumers of all ages. “If you look at the Gucci campaigns from that time, they featured both older and younger people. Everyone was dressed in similar styles, and it looked amazing,” says fashion consultant and stylist Edward Lalrempuia. While some might attribute the success of the fashion flashback to the allure of the storied label that introduced it, it’s important to note that many young homegrown brands are also making similar observations. For instance, New Delhi-based label Studio Rigu, known for its eye-catching designs, is popular with a wide range of women. “Our customers are modern globetrotters who are comfortable in their sartorial choices. Women from ages 25 to 65 wear and love our eccentric prints. It’s rightly said that age is just a number,” shares the brand’s founder Riya Gupta, highlighting that, when it comes to fashion, we’re increasingly defying archaic age boundaries.

POV 2

The messaging around age-appropriate dressing is everywhere. Mental health professional Pratyusha DV explains that it’s fed to us in direct as well as discreet ways. Apart from articles that explicitly tell us what we should or should not wear based on our age, the clothes we choose are also moulded by the content we consume on OTT platforms, the images that populate our social media feeds and the advertisements that we see on television or in magazines. “Traditional media has shown younger generations dressed in a certain way, and there hasn’t been adequate representation for older people. This drives home the message that the trends showcased are not meant for them,” says DV. For those who aren’t in the limelight, these learnings can be particularly difficult to leave behind. “A celebrity has to work through similar layers of conditioning, however the nature of their profession makes them more inclined to unconventional choices. They are aware of the impact that this could have on others, and the possible backlash of it too, but the encouragement they receive may outweigh the latter,” adds DV. On the other hand, she says, finding support in such scenarios might be harder for the average person as their decision to reject such notions is likely driven by personal preferences as opposed to the desire to impact someone or make a statement.

Besides our deep-rooted conditioning, our style, as we age, is also shaped by changes in our body and mind. At 47, Deepshikha Khanna, the creative director of Good Earth’s contemporary clothing vertical flow, finds that although the silhouettes she enjoys wearing haven’t shifted much, the fabrics she now favours are markedly different from the ones she wore in her 20s. “I loved a jumpsuit then and I love a jumpsuit now. But, today, it’s looser and crafted with handloom cotton. When I was younger, it was fitted and made using Lycra,” she says. Similarly, Aparna Badlani, consulting creative director at Aza Fashions, has watched her wardrobe evolve over the years. “I don’t wear bodycon ensembles any more, nor do I want to squeeze myself into something that will make me want to come back home halfway through the night and change,” she says. These modifications, which often involve a move towards comfortable or classic pieces, are something that women want to celebrate rather than question. “Now, I dress to please myself, and wear what I’m most comfortable in. This awareness definitely comes with age, and it’s more a privilege than a shortcoming,” says influencer and mother-of-two Roshni Chopra.

Conclusion

In summary, while some believe that the concept of age-appropriate dressing is steadily losing its relevance in recent times, others are of the opinion that the idea won’t fade in its entirety because our style, as we grow older, is influenced by decades-old conditioning, changes in our body and a love for comfort that trumps the need to test-run new trends.

Which school of thought do you resonate with? We’d love to know.

by Neharika Manjani

There’s an abundance of evidence which suggests that our tolerance for strict, limiting dress codes is fading. Today, celebrities are frequently spotted walking down red carpets in sneakers as opposed to staggering stilettos and brides are seen taking their vows in pant suits instead of heavy, ornate lehengas. However, when it comes to workplaces, it’s difficult to determine whether the room for sartorial experiments is as wide. Can getting creative with workwear adversely impact one’s productivity and professionalism? To find out, we reached out to members of Gen Z–the generation that’s commonly credited for dissolving the divide between professional and everyday attire–as well as names that sit at the helm of labels which cater to different definitions of workwear, and asked them to weigh in.

They are here

to stay

“In my current role as a trader, stock market trainer and public speaker, I understand the significance of a formal outfit. It is reflective of one’s professionalism”

– Hetvi Kamdar, Co-Founder, Trading Secrets

When 22-year-old Hetvi Kamdar switched from marketing to finance, the contents of her workwear wardrobe changed drastically. “The marketing agency that I worked at followed a “dress as you like” policy, and that was liberating at the time. But, in my current role as a trader, stock market trainer and public speaker, I understand the significance of a formal outfit. It is reflective of one’s professionalism,” says Kamdar who now tends to veer towards tailored separates–blazers, shirts and trousers–and dainty jewellery for work.

Apart from exuding professionalism, a dress code is also preferred because it boosts productivity. During his tenure as the president of the United States, Barack Obama was known to primarily wear blue and grey suits. Having a uniform of sorts in place allowed him to divert the time and energy he would have spent deciding what to wear daily towards other tasks on his extensive to-do list. The bestselling styles at homegrown labels prove that, much like Obama, several individuals see the merit in sticking to easy-to-repeat classics for work. At the Bombay Shirt Company, for instance, varied iterations of the white button-down are always in demand. “Other popular choices, when it comes to workwear, include checked shirts, formal pants, chinos, knit pants and styles from our low-maintenance wrinkle-free range. However, people do want to express their individuality, and they’ve been opting for micro prints or a pop of colour to subtly stand out,” explains Akshay Narvekar, founder of the Mumbai-based label.

Udit Toshniwal, creative director and co-founder of The Pant Project, a label that’s known for its custom-made bottoms, has made similar observations. He finds that the casual bottoms which cemented their presence in our closets during the pandemic are now being replaced by formal trousers. “Currently, one of our bestsellers is the formal bundle. If you buy two formal pants, you get a special value-added deal. I’ve noticed that, for Gen Z in particular, such styles serve as a blank canvas to which they then add statement accessories,” says Toshniwal, highlighting that many young individuals, especially those whose careers call for sharp, polished pieces, choose to put a personal spin on their professional attire with attention-grabbing add-ons.

Hetvi Kamdar | Co-Founder, Trading Secrets

Akshay Narvekar | Founder, Bombay Shirt Company

Udit Toshniwal | Co-Founder, The Pant Project

They are on their way out

“People are becoming more aware of their personal style. They are experimenting and wearing pieces that reflect their personality at work”

– Bhumika Ahluwalia, Co-Founder, Mishé

Some think meticulously piecing together a look every morning is cumbersome; others find it exciting. Stylist Vedica Vora firmly falls in the latter category. She finds that the process not only gets her creative juices flowing but also fuels her confidence. “People are far happier and more at ease if they are allowed to dress like themselves. I remember feeling horribly uncomfortable in school when I had to wear a uniform that just wasn’t me. This affected my confidence in a pretty big way,” says Vora, explaining how the one-size-fits-all-approach which lies at the core of most workplace dress codes can be problematic for some.

Diya Aggarwal, a 24-year-old who recently launched her own swimwear label Vitamin Di, mirrors this sentiment. “I don’t think formal clothes increase your productivity at work. Instead, they inhibit self-expression. An outfit that feels authentic to you can make you feel more confident and help you perform better in a professional setting,” she says. While Vora’s workwear staples include everything from breezy maxi dresses to jeans teamed with shirts borrowed from her father’s closet, Aggarwal’s attire for a busy day at work is made of black leggings, tank tops, blazers and sneakers. Although different at first sight, the approach that both Gen Z-ers adopt towards workwear proves that pandemic-born style genres such as biz-leisure–a trend which deftly merges comfortable clothing with power pieces–are here to stay. Look up the term and your screen will quickly fill up with images of structured outwear atop slouchy joggers and cosy sweaters paired with A-line skirts.

Bhumika Ahluwalia, co-founder of Mishé, a conscious label which stocks suits that are far from business as usual, attests that this willingness to experiment with one’s workwear is slowly but steadily increasing. “I think workwear will always be around but now people are becoming more aware of their personal style. They are experimenting and wearing pieces that reflect their personality at work,” she says.

Vedica Vora | Fashion Stylist

Diya Aggarwal | Founder, Vitamin Di

Bhumika Ahluwalia | Co-Founder, Mishé

Conclusion

In summary, while Gen Z-ers with creative careers are undoubtedly disrupting workplace dress codes, many others still prefer a more conventional approach. The two distinct schools of thought, however, are united by a shared eagerness to add a personal touch to workwear. This can be as simple as incorporating a statement accessory or as dramatic as forging a partnership between two pieces that wouldn’t have previously been paired together.

Where do you stand when it comes to dress codes at work?

We’d love to know your thoughts, leave us a comment below.

by Avani Thakkar

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The inauguration of the Nita Mukesh Ambani Cultural Centre (NMACC) saw the likes of Zendaya, Tom Holland, Gigi Hadid, Penelope Cruz, Nick Jonas, Law Roach and more descend to Mumbai for its grand gala reception. The star-studded affair also celebrated the opening of the ‘India in Fashion’ exhibition at NMACC, curated by Hamish Bowles, that takes its viewers through the extensive (and often undermined) journey of Indian craftsmanship, textiles and design.

Befitting the occasion, celebrities joined hands with household names in the Indian fashion industry designers to grace the red carpet; Gigi Hadid wore a resplendent chikankari sari and a bejewelled golden blouse by Abu Jani-Sandeep Khosla while Zendaya stunned in a sweeping custom Rahul Mishra design that sparkled like the midnight sky.

While the representation of Indian fashion at the NMACC is an example closer to home, last year’s Navratri and Diwali celebrations were also witness to the best of Indian fashion – albeit outside the subcontinent. There is a widespread adoption of our festivals in the US, UK and other European countries, by members of the Indian diaspora, international celebrities and politicians alike. US Vice President Kamala Harris turned hostess to bring in Diwali at her official residence with prominent Indian Americans in attendance; Rishi Sunak attended a Diwali reception at Downing Street, London just days after becoming the first Britain Prime Minister of Indian origin. 2022 was a turning point for Indian representation in positions of power and influence across the world; the domino effect of which has led to greater demand and relevance of our country’s fashion assets.

Add to that – desi celebrities making waves in the US entertainment industry such as Priyanka Chopra Jonas, Deepika Padukone, Lilly Singh, Mindy Kaling and Liza Koshy. All these opportunities combined have led to an uptick in the showcase of Indian fashion – Manish Malhotra, Papa Don’t Preach’s Shubikha Sharma, Gaurav Gupta and other designers are now household names and on speed dial when it comes to sourcing requests for many celebrity stylists in the US. A-listers such as Paris Hilton, Naomi Campbell, Chrissy Teigen and more are opting for bold, vivid lehengas, sarees or Indian fusion-wear to don at festive celebrations and for promotional events.

But what does this often ‘one-time’ representation really signify in terms of Indian fashion’s progress in the global space? Is an international celebrity choosing to don an embellished saree with motifs on 1 out of 365 days in a year doing enough to create a new narrative or is it feeding into the colourful clichés that often dominate this conversation?

“Fashion’s relationship with celebrities is a complicated one. They both feed off each other, yet can often offend each other. I think anything that highlights the creative talent of Indian design is welcome, especially now as Indian designers look to set up flagships on foreign shores and more Indian labels are being included in the schedules of international fashion weeks. And when attending Diwali functions or Indian weddings, I feel it is also respectful that attendees wear clothes that are appropriate to the function”, says Sujata Assomull, a Dubai-based fashion journalist and author.

However, weighing in on the cons, Assomull further adds – “There are times when international celebrities wear Indian designer clothes, and it almost seems like a costume which is an issue – when they make India seem like the country of Maharajahs and snake charmers. I also wish that the celebrities would not just wear Indian designer clothes for “Indian” functions, that they re-wear the pieces at other events, perhaps styling them in a way that has a global feel. Indian fashion is where cultural dressing thrives and also moves with trend, and this is the story that needs to be highlighted. That Indian clothing is not just for function but can fuse into an everyday wardrobe.”

While the word ‘representation’ in this case may seem like two sides of the same coin, these brief appearances of international A-listers in South Asian clothing is more momentous than clout for the respective brands and designers – particularly those looking to expand internationally in the midst of what is a competitive market.

In Netflix shows such as Never Have I Ever and the Bridgerton series, the costume designers, stylists and the cast work in tandem to ensure an apt showcase of South Asian brands to celebrate their heritage. In Poorna Jagannathan’s (Devi’s mother on Never Have I Ever) InStyle interview, the actor is particularly vocal about wearing different textiles, prints and styles from the likes of new-age brands such as Raw Mango, Ikai and Bodice to display the versatility of Indian fashion.

Manish Malhotra, veteran Indian couturier with decades of experience in the fashion and film industry, is of the opinion that this sort of representation can go a long way than fifteen minutes of fame when propelled and sustained in the right way. “I represent an India that’s all about the people, progress, and a strong purpose to protect and preserve the craft and its artisans. Our origins are so strong that globalising the Indian handloom does not necessarily mean propelling it to conform to modern times but instead merging the traditions, the refinement, and the impact of the handcrafted creation with the identity of today’s globalised generation. The endless love of our patrons across the country and extended border has called forth for more demand, and our brand yearned to fulfil every demand, desire, and dream to wear an Indian couture brand on the international borders. We already have an established clientele in the US and have expanded even more through our e-commerce and recently launched a virtual store medium. However, we’d love to foray into the country’s market by strengthening our physical reach through timeless, classic, and responsible collections that tell the authentic stories of Indian craft and artisans.”

by Neharika Manjani

Last year, as we slowly emerged from the COVID-19 pandemic, I found that my Instagram feed was populated with images of street style influencers sporting jeans that were intentionally left unbuttoned. While, at first, this looked like an attempt to breathe new life into a staple silhouette, upon closer examination, I couldn’t help but wonder whether there was more to this trend than meets the eye. Was what seemed like a simple sartorial experiment actually a silent, subconscious protest against the rigid waistbands of jeans? Was it our way of saying that we aren’t quite ready to leave behind the stretchy, spacious bottoms we’ve lived in during the last few years? Would we ever be able to wholeheartedly welcome jeans back into our wardrobes? Armed with these questions, Blur The Border reached out to six industry insiders, and here’s what they had to say.

The roomier iterations are back

“People don’t want restrictive silhouettes or fabrics anymore, there’s a want for looser iterations.”

– Nishika Bhagat, Co-founder, Osé Studios

Nishika Bhagat | Co-founder, Osé Studios

Raksha Tated | Founder, Reverce

Karma Dhingra | Style influencer

With social commitments crowding our calendars again, it’s only natural to assume that sweatpants and joggers have taken a backseat in most closets. However, Nishika Bhagat, co-founder of Osé Studios, shares that this is far from the case for two key reasons: (a) The loyalties of Gen Zers and millennials, who now form a large portion of most brands’ customer base, continue to lie with loungewear, and (b) Even when it comes to shoppers from older generations, there seems to be a growing aversion to clothing that doesn’t prioritise comfort. “People don’t want restrictive silhouettes or fabrics anymore. Loungewear detailing is increasingly being brought to a range of separates including jeans, and there’s a want for looser iterations such as mom jeans or boyfriend jeans,” says Bhagat whose label stocks both athleisure wear and a slouchy take on denim essentials.

In addition to this, the popularity of baggy bottoms, whether its joggers or jeans inspired by them, is fuelled by another key factor. “People, irrespective of their size, want their clothes to make them feel good. Roomy, comfortable bottoms are more size-inclusive, and therefore tend to appeal to a broader audience,” says Raksha Tated, founder of streetwear label Reverce.

Style influencer Karma Dhingra seconds this, explaining that jeans, especially the skinny kind, are unable to adapt to diverse body types. “In the past, when I used to wear skinny jeans, I had to get them tapered because my thighs are heavier than my calves. Additionally, it was always a struggle to get into them, and after a few hours of wearing them, I would notice that the stitching left marks on my skin. I’ve transitioned out of the joggers that I wore during the pandemic, and I’m back to wearing jeans regularly but I tend to opt for more comfortable styles. I frequently wear this baggy Calvin Klein pair that my dad bought when he was in his thirties,” says Dhingra who now veers towards softer, more breathable jeans and also keeps on-trend alternatives such as cargo pants on standby.

All kinds of jeans are welcome

“I found it easy to go back to wearing jeans, and I don’t think I can now wear sweatpants regularly”

– Khushnaz Ashdin Turner, Influencer

Khushnaz Ashdin Turner | Influencer

Isha Bhansali | Celebrity Stylist

Madina Kirpalani | Off Duty

For Khushnaz Ashdin Turner, influencer and mother of two, wearing sweatpants brings back not-so-fond memories. “I found it easy to go back to wearing jeans, and I don’t think I can now wear sweatpants regularly–they remind me of the last few years, which so many of us want to leave behind. Of late, I’m loving being able to wear over-the-top and fitted clothes,” she says.

Like Turner, celebrity stylist Isha Bhansali was also eager to wear jeans again. A denim enthusiast, she slipped back into different kinds of silhouettes (including the oversized, Y2K-inspired ones) with ease. In her opinion, however, the success of the more accommodating options has less to do with the comfort that we got accustomed to during the pandemic and more to do with the cyclical nature of trends. In the world of fashion, everything old is ultimately new again. “Even before the pandemic lots of retro silhouettes, such as flared jeans, were gaining popularity and these styles will continue to resurface every few years,” says Bhansali. The buying behaviours that homegrown denim labels have been observing also suggest that the most sought-after jeans today don’t always reflect a longing for loungewear.

At Off Duty, a label that’s known for its wide variety of jeans, wide-legged styles are staging a comeback but the fabrics favoured, according to co-founder Madina Kirpalani, are still the same. “Given our lockdown habits, one might think that lightweight jeans are flying off the shelves. But, there’s an interesting phenomenon playing out. Heavy, thick denim is associated with durability and is seen as being premium, which is why it’s still in demand and unlikely to go out of style,” concludes Kirpalani, highlighting that while a shift towards breathable, and even sustainable denim is imminent, currently, a preference for jeans, which are crafted using sturdy fabrics, is still prevalent.

Conclusion

To sum up, for some, returning to jeans, even those which don’t feature the most flexible waistbands and fabrics, was easy, but for others, the switch hasn’t been quite as straightforward. Many still seek variations of the basic, which allow them to keep the lessons that they learnt during the pandemic close.

Where do you sit on this spectrum? We’d love to know your thoughts.

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Beyond Borders- How Collaborations With Global Brands Take Shape

Is Age Appropriate Dressing Still A Thing?

Are dress codes at work dated?

Is there a ‘right’ way to represent Indian fashion?

Are we really willing to welcome jeans back into our wardrobes?

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