EXCLUSIVE! Tarun Tahiliani: An ode to the timeless Indian drape

The spring-summer collection essays tradition in Tarun Tahiliani’s inimitable ‘India Modern’ style, preserving the rich textile heritage and cultural identity, in a cerebral yet simple manner for the contemporary wearer. Inspired by the water motif in Tarun Tahiliani’s Collection, pianist and composer, Sahil Vasudeva lent a modern cinematic piano soundtrack to the show, performing his own composition Qinara and Lighthouse – a reimagination of Philip Glass’ works.

Tarun Tahiliani believes that in today’s world pragmatism is very important. In the textile sector, which is drape; he is interested in how we drape and if we are going to lose that, how do we reconnect to that through structure draping.

Edited excerpts from the interview:

Tell us about your latest collection that you showcased at Lakmé Fashion Week in partnership with FDCI.

An ode to the timeless Indian drape, collection born out of the ‘Sheer Drama’ collaboration with Lakmé, essays tradition in my signature ‘India Modern’ style, preserving India’s rich textile heritage and cultural identity, in a cerebral yet simple manner for the contemporary wearer. The collection highlighted the sheerness of the hero Lakmé products, weaving their way through airy drapes, light textures and structured draping combined with traditional embroidery reimagined, in non-traditional sprays and settings. Presenting my take on ‘lightness’ through the lens of fashion, it encompasses a spectrum from neutrals, nudes, iridescent pastels, faded metallics to bursts of red – an endeavour to make every woman feel #UnapologeticallyMÉ.

In line with the vocal for local concept in fashion, how important is revival of weaves and how much do you go by it?

Indian fashion represents a few different things to me – the textile sector, which is drape; I am very interested in how we drape and if we are going to lose that, how do we reconnect to that through structure draping, which is what my studio stands for. And a lot of the show has wonderful structure draping. Next, of course, are the embellishments; we are working a lot more with weavers this time around, particularly from the northern part of India and are now starting to go further south. And, of course, we do have some from Bengal. I think it is very important because it represents our culture, our heritage, and, more importantly, a lot of people who work with us are receptive to new ways of thinking. They’re experimental and interacting with designers of all different kinds. So, there’s a contemporary newness to the weaves that they do.

How has the pandemic taught us in sustainable fashion and slow fashion and how much do you personally follow it as a designer?

I don’t think the pandemic really taught us about sustainable and slow fashion, it taught us a lot about athleisure and wearing comfortable clothes; it blurred the lines between what was acceptable in personal and professional spaces.

I have always believed in buying a few things and using them till the time I love them and for me personally, luxury is the most justifiable because you buy the most beautiful things and you keep using them.

What are your favourite fabrics and why?

I like fabrics that drape, I like sheer fabrics and I like permanently pleated fabrics. I also like high-tech fabric from Korea, all these are used in abundance in the show from brocades to georgette, lots of cutworks, cotton and silk, all our crinkled tools that come in are from Korea.

How do you see beauty tying in with fashion in the contemporary landscape? What are your thoughts on minimalist makeup trends?

I think that beauty and fashion often go together, someone who is fashionable, often cares about her appearance and her skin – basically how she presents herself. This goes hand-in-hand, so I think they are very connected. It also relates to one’s style and the prevalent climate – like naturally, the heat influences fashion. For me personally, the classic Indian kajal, a dab of colour and a bindi are beautiful.  A lot of Indian women focus on their eyes and keep most other elements very neutral – something that has been the quintessential Indian shringar.

On this season’s theme…

The theme for this season is all about lightness, sheerness and translucence, all of which perfectly match the colour palette and seamlessly complement the glamour of the collection. I have upped the ‘sheer drama’ quotient this year.

What are your thoughts on how machines are inferior to craftsmanship?

I think that in today’s world, we can’t deny the fact that machines and craftsmanship can go hand-in-hand. In our secondary labour, we use a lot of fabrics that are made on power looms. I don’t see a conflict there because they are wonderful fabrics. People value things made by hand because they do have a softer feel. Where I have an issue is when people try to pass off computer and machine work as Indian craftsmanship, and I feel that is being inherently dishonest. I believe every brand will find its own space in the spectrum of machine and craftsmanship.

What are your thoughts on: On pragmatism vs imagination?

I think in today’s world; pragmatism is very important. I see certain things with lots of imagination in couture, and every avant-garde designer respects them for the scale of the imagination and the technical expertise that makes the skills possible, including 3D printing. But for me, as a designer, I appreciate it as art. I enjoy wearing and living in clothes that are totally pragmatic because our lifestyles are hectic, we run around, and I don’t think that can be devoid of fantasy. For example, at a wedding, brides, grooms and guests want to dance all night, so outfits have to be pragmatic. I don’t see the sense of someone wearing something and then expressing discomfort and not enjoying the outfit.

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