Flash is an interactive platform that has a powerful design and animation tool along with a dynamic scripting engine, bitmap rendering, as well as advanced video and audio playback. There are three main aspects: the player, the file format, and the authoring tool/IDE. Flash games can be developed for websites, interactive TV, as well as handheld devices. There is no need to adopt multiple programming languages to build games.

P&T Interiors, the notable eclectic high-end boutique interior design firm lead by Pol Theis, is pronounced New York's 2018 Most Innovative Boutique Interior Design Firm by LuxLife Magazine

There are many web apps for designer and developers out there, but getting by free and good ones is not that easy. That is why we are sharing 7 Web Apps For Web Designers To Simplify Their Work Life. Previously, we have already covered 9 Tools To...

The post 7 Web Apps For Web Designers To Simplify Their Work Life appeared first on SmashingApps.com.

There are many web apps for designer and developers out there, but getting by free and good ones is not that easy. Today, we are sharing some great tools by Google. Previously, we have already covered 9 Best Resources For Web Developers & Web Designers So, without...

The post 7 Must Check Google Tools For Web Designers & Developers appeared first on SmashingApps.com.

This week’s Designer News – № 537 – includes a Free Animation in Design System E-Book, Creating Playful Effects with CSS Text Shadows, UI Design Hygiene, Creating the NHS Patient Webinars Platform, pattern.css Pattern Library, CSS Selectors Explained, Open Source Dashboards UI Kit and so much more!

The post Weekly News for Designers № 537 appeared first on Speckyboy Design Magazine.

This week’s Designer News – № 538 – includes 5 Simple Habits to Improve UX Research, New Media Queries You Need to Know, The Cost of Javascript Frameworks, The Hero Generator, Why Wireframes are Becoming Obsolete, Looking at coronavirus.data.gov.uk, Lots of Freebies and so much more!

The post Weekly News for Designers № 538 appeared first on Speckyboy Design Magazine.

When the world seemingly changed overnight due to COVID-19, it was surreal. Maybe your surroundings looked exactly the same. Your to-do list contained the same projects. Even if things were...

The post Reasons to Be Thankful: Bright Spots for Web Designers appeared first on Speckyboy Design Magazine.

This week’s Designer News – № 539 – includes How to Create a Color Theme Switcher, a Morphing Gooey Text Hover Effect, Free UXUI Doc Kit for Sketch/Figma, Design System Interview Questions, Faking 3D Elements with CSS, the StyleStash Chrome Extension, Teach Yourself Code and a bunch more!

The post Weekly News for Designers № 539 appeared first on Speckyboy Design Magazine.

Dazed Media a interrogé les créatifs et leur a demandé d’imaginer des affiches répondant aux changements provoqués par la pandémie et appelant à un avenir meilleur. Dans le cadre de cette campagne #AloneTogether, plusieurs artistes et designers célèbres ont contribué, tels que Vivienne Westwood, Christopher Kane ou encore la créatrice de mode Katharine Hamnett. Ces […]

In 2003, my wife Lowri and I went to a christening party. We were friends of the hosts but we knew almost no-one else there. Sitting next to me was a thirty-something woman and her husband, both dressed in the corporate ‘smart casual’ uniform: Jersey, knitwear, and ready-faded jeans for her, formal shoes and tucked-in formal shirt for him (plus the jeans of course; that’s the casual bit). Both appeared polite, neutral, and neat in every respect.

I smiled and said hello, and asked how they knew our hosts. The conversation stalled pretty quickly the way all conversations will when only one participant is engaged. I persevered, asked about their children who they mentioned, trying to be a good friend to our hosts by being friendly to other guests. It must have prompted her to reciprocate. With reluctant interest she asked the default question: ‘What do you do?’ I paused, uncertain for a second. ‘I’m a web designer’ I managed after a bit of nervous confusion at what exactly it was that I did. Her face managed to drop even as she smiled condescendingly. ‘Oh. White backgrounds!’ she replied with a mixture of scorn and delight. I paused. ‘Much of the time’, I nodded with an attempt at a self-deprecating smile, trying to maintain the camaraderie of the occasion. ‘What do you do?’ I asked, curious to see where her dismissal was coming from. ‘I’m the creative director for … agency’ she said smugly, overbearingly confident in the knowledge that she had a trump card, and had played it. The conversation was over.

I’d like to say her reaction didn’t matter to me, but it did. It stung to be regarded so disdainfully by someone who I would naturally have considered a colleague. I thought to try and explain. To mention how I started in print, too. To find out why she had such little respect for web design, but that was me wanting to be understood. I already knew why. Anything I said would sound defensive. She may have been rude, but at least she was honest.

I am a web designer. I neither concentrate on the party venue, food, music, guest list, or entertainment, but on it all. On the feeling people enter with and walk away remembering. That’s my job. It’s probably yours too.

I’m self-actualised, without the stamp of approval from any guild, curriculum authority, or academic institution. I’m web taught. Colleague taught. Empirically taught. Tempered by over fifteen years of failed experiments on late nights with misbehaving browsers. I learnt how to create venues because none existed. I learnt what music to play for the people I wanted at the event, and how to keep them entertained when they arrived. I empathised, failed, re-empathised, and did it again. I make sites that work. That’s my certificate. That’s my validation.

I try, just like you, to imbue my practice with an abiding sense of responsibility for the universality of the Web as Tim Berners-Lee described it. After all, it’s that very universality that’s allowed our profession and the Web to thrive. From the founding of the W3C in 1994, to Mosaic shipping with <img> tag support in 1993, to the Web Standards Project in 1998, and the CSS Zen Garden in 2003, those who care have been instrumental in shaping the Web. Web designers included. In more recent times I look to the web type revolution, driven and curated by both web designers, developers, and the typography community. Again, we’re teaching ourselves. The venues are open to all, and getting more amazing by the day.

Apart from the sites we’ve built, all the best peripheral resources that support our work are made by us. We’ve contributed vast amounts of code to our collective toolkit. We’ve created inspirational conferences like Brooklyn Beta, New Adventures, Web Directions, Build, An Event Apart, dConstruct, and Webstock. As a group, we’ve produced, written-for, and supported forward-thinking magazines like A List Apart, 8 Faces, Smashing Mag, and The Manual. We’ve written the books that distill our knowledge either independently or with publishers from our own community like Five Simple Steps and A Book Apart. We’ve created services and tools like jQuery, Fontdeck, Typekit, Hashgrid, Teuxdeux, and Firebug. That’s just a sample. There’s so many I haven’t mentioned. We did these things. What an extraordinary industry.

I know I flushed with anger and embarrassment that day at the christening party. Afterwards, I started to look a little deeper into what I do. I started to ask what exactly it means to be a web designer. I started to realise how extraordinary our community is. How extraordinary this profession is that we’ve created. How good the work is that we do. How delightful it is when it does work; for audiences, clients, and us. How fantastic it is that I help build the Web. Long may that feeling last. May it never go away. There’s so much still to learn, create, and make. This is my our party. Hi, I’m Jon; my friends and I are making Mapalong, and I’m a web designer.

What should all businesses do at least once, and do properly, and (like the title of this blog post suggests) designers need to do repeatedly? The answer is: Understanding the target market they’re catering to. Sure, that makes sense—but why are graphic designers any different? Why do this repeatedly? When you’re in business, you’re in the […]

https://thenextweb.com/growth-quarters/2020/05/08/should-designers-learn-how-to-code-syndication/

There’s nothing better than finding a new design tool that will make your life a million times easier. After all, we all want to get our work done as quickly and efficiently as possible, and if there’s a tool for that, then I want it. And I did find some tools that I absolutely love […]

Read More at 5 Incredible Free Tools For Designers That You Need To Try

When you’re a freelancer and you start to work directly with your clients, there’s something crucial you need to know. Your design is not the one and only, most important aspect of the transaction. While presenting your client with an amazing design is the final goal, there are a lot of other things at stake […]

Read More at 7 Biggest Mistakes Freelance Designers Make That Will Ruin Their Career

As a designer, we’re overloaded with choices every day, but there are some apps that are absolutely worth your time and investment. Finding the best ones and most useful ones can be a difficult task, so we’re going to make things easy for you and give you our top 10 apps and websites we couldn’t […]

Read More at 10 Websites and Apps All Designers Should Be Using

Among all of the design agencies’ headaches, artwork proofing is probably one of the most acute ones. Forwarding countless numbers of requests, following up your approvers with reminders that they have a file to check, searching for their feedback in the endless pile of emails or messages… Quite daunting, to say the least, and quite […]

Whether you’re skipping Black Friday to concentrate on Cyber Monday or planning for a shopping spree during both days doesn’t matter. The subject here is Cyber Monday Deals, and there are some great ones indeed. Some Cyber Monday deals expire at midnight on Monday December 2nd, others are valid a day or two longer, and […]

The post 10 Top Cyber Monday Deals for Web Designers appeared first on WebAppers.

Designing is often as much as a science as it is an art. Using specific knowledge of human psychology & online behaviour, the science of creating effective websites that are optimized for business...

Web designers have skills and expertise that open up a whole world of possibilities. Many designers and developers choose to pursue personal projects in their own time, which can be a nice change of...

Click through to read the rest of the story on the Vandelay Design Blog.

There are a number of different ways to make money as a web designer aside from simply creating websites for clients. Many freelancers choose to supplement their income from client work by doing some...

Click through to read the rest of the story on the Vandelay Design Blog.

Humberto Corte's presentation on sound editing at the sound designers meetup

If you're more timeless than trendy, don't go all in on these decorating ideas and materials. READ MORE...

L.A. sustainable fashion and accessories designers share their survival stories in the time of COVID-19.

Find out if your favorite film, TV show or commercial won at the 22nd CDGAs, which were hosted by Mindy Kaling. Also honored were Charlize Theron, Adam McKay, Michael Kaplan and Mary Ellen Fields.

Coffee, music, YouTube channels, and procrastination— only a handful of things can make your day when it comes to increasing productivity but none of them are as complete as having a home office setup. It makes a world of difference where and how you work especially if you work from home. Hence, some home office […]

The post 12 Home Office Setup Ideas for Web Designers and Developers appeared first on SpyreStudios.

In New York City, a desperate need among healthcare workers has pushed to the forefront the question: Is homemade equipment safe to use?

Kevin Khungay played high school basketball. His friend's older brother Sunny Basran was his coach. Years later, their unique designs are worn by some of the sports biggest stars.

Designers Liam + Jord have created a series of minimalistic history-inspired “logos” for cities affected by World War II as part of RT’s tribute project #VictoryPages featuring cities such as Moscow, Warsaw, Berlin, and Hiroshima.
Read Full Article at RT.com

From a patchwork quilt to a crisp-packet necklace, learn new skills with the help of some top British designers

Creative director and star of Netflix’s Next in Fashion, Daniel W Fletcher has plenty to get on with while in social isolation, designing a collection for Fiorucci as well as one for his own brand. In his down time, he is taking up a DIY challenge to make a patchwork quilt based on a dress he made during the filming of Next in Fashion, using other designers’ leftover scraps. The design – inspired by concerns over the melting polar ice caps – is an arctic landscape.

Here's how to get the codes for designers like Marc Jacobs and Valentino

Fashionable face masks with philanthropic flair

Enough is enough, says a growing number of creatives from the fashion industry, including designer Kimora Lee Simmons, stylist Jeanne Yang and designer Prabal Gurung.

The show is 101 years old, but this year it's the newcomers that are making their mark.

Photo via StringBike The Bike, Unchained A group of designers in Hungary have done away with what has long been a staple of bicycle design, those oily old chains, with their creation, the StringBike. Instead of being propelled forward the traditional

The sustainable fashion design competition is encouraging Asia’s emerging fashion designers to create mass-market clothing with minimal textile waste.

This classic design is 80 years young and some famous designers pay hommage.

This experiment may kickstart a new age of microorganism technology.

Your cat deserves better; this architecturally designed house for cats might be just the thing.

It is my favourite part of the Interior Design Show, the corner of the floor where all the young new designers get to strut their stuff.

What happens when ten famous designers get what they wished?

Change is growing this year with more women designers and lots of glorious blue flowers.

With the aim of showcasing and selling products designed by women, No Sir also draws attention to gender inequality in the design profession.

A raft of fashion labels are now making non-medical masks to sell to consumers, including band t-shirt maker Bravado, which has made Rolling Stones, Queen and Ariana Grande versions.

Photographer and graphic designer Anusha Yadav started the Indian Memory Project, an online, visual, narrative-based archive in 2010, to trace the history of the subcontinent via photographs and letters. Pic/Ashish Raje

EarLier this week, artist and oral historian Aanchal Malhotra, 28, travelled nearly 240 km to Chandigarh from Delhi, to meet a nonagenarian, who had lived through the Partition of 1947. As she speaks about it now, there's a lump in her throat. "I couldn't sleep that entire night," Malhotra confesses. "Even 70 years on, the woman is so afraid to talk about it. It had everything, from gun fire, to fleeing from her home in Pakistan, to her brother and mother being taken as prisoners, and to giving birth in a forest on her way to India. When she first delivered the baby, her immediate response was to throw it away. You can imagine what trauma she was experiencing." What surprised Malhotra most was when the 90-year-old asked her what she would do with her story. "I said that I wanted to publish it. The woman's immediate response was, 'who will read this?'. They really think that nobody cares. But, this is the story that has shaped the future of contemporary India."

The jewellery Aanchal Malhotra is wearing, was made in the North-West Frontier Province and was given to her great-grandmother, Lajvanti Gulyani, by her in-laws on her wedding to Hari Chand Gulyani in the year 1919. But it could have been in the Gulyani family before that as well. Since she became a widow quite young and was a single mother at the time of Partition, it was carried by her to India in 1947 because she thought she would be able to sell it and earn money to put her children through school. She then gave it to Malhotra’s grandmother, who has now given it to her. Pic/Nishad Alam

Malhotra is the author of Remnants of Separation (HarperCollins India), a book that revisited the Partition through objects carried across the border, and the co-founder — along with Navdha Malhotra — of The Museum of Material Memory, a digital repository of material culture of the Indian subcontinent, tracing family histories and ethnography through heirlooms and objects of antiquity. Since the launch of the archive last year, the founders have put together over 35 heartwarming object stories. Closer home, photographer and graphic designer Anusha Yadav's Indian Memory Project — an online, visual, narrative-based archive, founded in 2010, which traces the history of the subcontinent via photographs and letters — has helped us see history in another light. There is also Paris-based perfumer Jahnvi Lakhota Nandan, whose recently-published book, Pukka Indian: 100 objects that Define India (Roli Books), documents the most coveted symbols and designs representing our culture, by tracing its origin and significance in our lives. All three projects while different in essence and form, have one common intent — to record untold stories from our history and preserve them for posterity. But, as Malhotra's subject asked her, why should anyone be curious?

The chakla and belan originated in 7,500 – 6,000 BCE in Punjab. At the time, this region was cultivating wheat and barley extensively. Rather than using the flatness of the chakla and the pressure of the belan to what we might expect to be used around the country to make flatbread, whatever the ingredient might be, it is only in this region of north India that the chakla and belan were used simply because wheat and barley lend themselves to kneading. What must have been perceived as a high-technology kitchen tool then, the chakla and belan soon spread to other parts of the country. Text courtesy/Pukka India by Jahnvi Lakhota Nanda, Roli books; Pic/Shivani Gupta

Celebrating the mundane
Nandan, an alumnus of the School of Art and Design at Tsukuba University, Japan, admits that her project stemmed out of her curiosity to find out about the designs that define us an Indian. "Design is a mirror of our attitudes and habits. Through the course of writing this book on Indian design, I found that uniquely Indian gestures like churning, combing and calculating were reflected in it," she writes in the book. From the dabba, agarbatti, and kulhad, to Babuline gripe water, most of the objects Nandan chose for the book, have "either been made or originated in India, or have an element that is very Indian, or are being used in a very Indian context".

This picture is of Purvi Sanghvi’s grandfather Dwarkadas Jivanlal Sanghvi (extreme right in a black coat) and his brother Vallabhdas Jivanlal Sanghvi with their business partners at a Pen Exhibition in Bombay around 1951. The family ran Wilson Pens that quickly rose to huge fame and became a preferred choice of pens across the country. All government offices, law court, used the Wilson pens. The Wilson Pen Family made the orange, thick-nibbed pen that wrote the most fundamental document that defines the state of India: The Constitution of India written by Dr Babasaheb Ambedkar. Pic, Text Courtesy/Indian Memory Project/Contributed by Purvi Sanghvi, Mumbai

It's while working on the book that Nandan realised how "our own homes are a repository of history". Here, she relays an incident when Shivani Gupta, the photographer for Pukka Indian, had been anxious about finding a mandira — a butter churner — that Nandan had mentioned in the book. "She went home, and realised that she had five of them in her kitchen. She didn't even know she was sitting on so much wealth." Nandan adds, "We don't tend to celebrate the mundane. What we celebrate are things that have obvious value, like jewellery, the beautification of the body or the exotic."

Paris-based perfumer Jahnvi Lakhota Nandan's recent book, Pukka Indian, documents the most coveted symbols and designs representing Indian culture, by tracing its origin and significance in the lives of its users. Pic/Suresh Karkera

Object as a catalyst
Malhotra's interest in people's histories began while working on Remnants of Separation, which was an extension of her Master of Fine Arts thesis project for Concordia University, Canada. Malhotra's research began after she came across a gaz (a measuring device) and ghara (a pot), which belonged to her nana's family, and had crossed the border. "Sometimes the Partition is too traumatic to speak about. When I started my research, I didn't know where to begin or what I could ask, without sounding frivolous. The object became a catalyst to enter into that conversation. So, rather than me saying 'Oh! You lived through the Partition, that must be awful,' I was now asking relevant questions, like 'why did you choose to take this gold bangle with you?'. The object then, didn't become something that recessed into the background, but something around which the entire background was arranged."

That's when she and Navdha decided to start The Museum of Material Memory. The duo encourages everyone to contribute, provided the object is from or before the 1970s. The archive comprises everything from a 5-inch-long, mottled sewing needle to a chaddar with traditional baagh and phulkari embroidery and a former Class II Income-Tax officer's diary filled up with the repeated words 'Sri Rama Jayam', meaning Jai Sri Ram. Each post is accompanied with the story behind the object. "Material ethnography is so vastly explored in the West, especially when it comes to events of trauma and crisis. What we are recording here, will never be found in any textbook. We need active memoralisation, not just of traumatic events, but of our tradition and culture, which is primarily oral."

Not just for nostalgia's sake
The indianmemoryproject.com, says Yadav, started off as a book idea, where she wanted to collect old, wedding photographs. "I wanted to document the idea of weddings in different cultures, and explore the entire phenomena behind the crew that makes it possible," she says. "While the book didn't happen, the pictures stayed with me." That's how, her archive, a first-of-its-kind in India, took off. "If you are fascinated with history, you will know that India really is a melting pot. Every civilisation has passed through it. And so we have all kinds of DNA in us. And considering photography was discovered two centuries ago, we did have a lot of content to discuss," says Yadav.

She admits that it wasn't as easy to get people to share their photographs or talk about their stories. "But, there needs to be integrity, transparency and you need to earn the trust of your subject. When you have these value systems in place, people are more open. I always thought of the archive as an institution." Funding for the project has been tough, says the archivist. "When I began, I was very clear that I didn't want to become a trust. Unfortunately, that's the channel through which most of the money comes from. But, there's a server and maintenance cost and the site constantly needs to be upgraded. Now, I have started putting in requests for honorariums. The only way I will get money is through a private funder, who is fascinated with the idea, and wants to back it as well. Sometimes, when a good sum comes from my own work as a photographer, part of the profits go to it. At the end of the day, it is an unofficial record of history, and I'm doing my best to sustain it."

Catch up on all the latest Mumbai news, crime news, current affairs, and also a complete guide on Mumbai from food to things to do and events across the city here. Also download the new mid-day Android and iOS apps to get latest updates

One of the images in Masaba Gupta’s Insta-only campaign features model TJ Banu in a chiffon saree, the pallu draped around her head like a hijab

In a world divided by political agendas and religious regulation, women's clothing is defined through moral dress codes. "Do we have the freedom to wear whatever we want, when there are no dress codes for men?" asks young Mumbai designer Masaba Gupta, through her "Can't" series of T-shirts and caps launched as part of Tiger Lily, Spring/Summer 2018 line. One of the images in her Insta-only campaign is of model TJ Banu in a chiffon saree, the pallu draped around her head like a hijab (left in pic).

Kallol Datta introduced a range of hijabs, as part of his runway collection in 2015, with pattern cutting experiments of 3D inserts, embellished in tassels and foil print

In January 2016, Dolce & Gabbana released a "modest-wear" range, joining the likes of Oscar de la Renta and Tommy Hilfiger. H&M released a first advert featuring a Muslim woman in a hijab in 2015, and House of Fraser now stocks athleisure hijabs, designed for Muslim women to wear while exercising and swimming. But the rebellious interpretation of a conservative style has seen both criticism and cheer. Veteran designer James Ferreira welcomes the newfound reverence. "We've endured the West's interpretation of fashion for far too long... open any magazine, and there are tits all over," he says. Ferreira first designed and retailed a range of hijabs with badla work (intricate Indian embroidery in metal thread) as long as 30 years ago.

Kolkata-based Kallol Datta's emancipated designs occupy a middle ground between the genders. That he is inspired by the Islamic style of cloaking is a result of having spent his early years in Abu Dhabi, Dubai and Kuwait. He began designing abayas and kaftans in 2008, and called his version "sleeping bags". It's only as recently as 2015 (right in pic), when he introduced a range of hijabs with pattern cutting experiments of 3D inserts, embellished in tassels and foil print, and sold them at stores in Saudi Arabia and Kuwait.

Masaba Gupta

"It's a cool move," Ferreira says of Gupta and Datta's new designs. "Masaba and Kallol are mending broken ties between communities; it's like what the beard did post 9/11. At a time when the world began associating the beard with a political event, men from across cultures and countries embraced the beard. Solidarity is always heartening," feels Ferreira.

Kallol Datta

How do you explain using femininity as a tool of empowerment or rebellion?
Masaba Gupta: We create clothes on steroids, what we call churning out "maal". While Tiger Lily, our S/S 2018 collection, has a lot of new prints, the colour palette of knockout pinks and bottle greens stays true to my brand's aesthetic. It's an elevated, easy-to-wear collection inspired by the modern-day woman. So it's online campaigns that allow me a creative release, a platform to have an opinion. I was empowered rather than fearful when shooting the campaign. There's always the fear of being trolled on social media, but then that happens anyway.

Kallol Datta: It's not so much about being rebellious as it is about asking, how do you shroud yourself in fabric? As a designer, I pay attention to the fabric's form rather than the human form, hence layering and shaping remain at the core of my designs. It's also a familiar space [hijab] since I spent most of my early life in Abu Dhabi, Dubai and Bahrain.

Why pick a symbol of conservatism?
Masaba Gupta: The starting point of the idea was to talk about our best-seller sarees. And the saree has been constantly debated... in relation to how it should be worn by a specific type of woman to why the youth are apprehensive about embracing it. That's why the decision to showcase the saree worn by real women, as opposed to models, in the campaign shoot. Middle Eastern women think that a saree is intrinsically Indian, hence the idea of styling this drape like a hijab.

Kallol Datta: I enjoy working with native wear clothing in a template form to realise silhouettes, which keep changing as layers are added or subtracted. The chador, manteau, abaya, kaftan or hijab become great building blocks for me to work with. At the same time, clothes-making for me is rooted in anthropology.

When a politically engaging idea occurs to you, how long before you wonder if controversy will follow?
Masaba Gupta: I don't want to unnecessarily stir up a controversy, and have people protesting outside my home. My brand's business head doesn't always agree with my social media posts (laughs). But I also believe that there's a difference between being brave, creative and downright foolish. That's why I put a caption to the image: 'This is celebratory and not a gimmick. I want women to wear a saree the way they feel best, in keeping with their traditions and their comfort. Most importantly, for them to not justify, why they chose to wear it the way they do'.

Kallol Datta: It never crosses my mind. I've been mindful about not using symbols, or portraying national icons in my designs.

How does fashion become political?
Masaba Gupta: I find fashion a departure from controversy or politics. After India, my biggest business comes from Dubai and Kuwait. My job as a designer is done when my clothes inspire freedom in Muslim women to adopt fashion the way they desire.

Kallol Datta: When Eastern concepts move to the West, they often get lost in translation. A woman wearing a hijab, a man in a kaftan - they become visible markers of their communities. The lack of representation [of these markers] in editorials and fashion journalism means that you're telling them, 'we choose not to see you'. Although Indian designers cater to Islamic countries, it's rare to see indigenous cultural markers in their clothes. Indian designers haven't moved beyond lehengas and sarees; it's their bread and butter. They are ignoring a thriving demographic. It's heartening to see 'modest fashion' come into its own.

Also Read: Jacqueline Fernandez Had Fun Designing For MMA Fighters

Catch up on all the latest Mumbai news, crime news, current affairs, and also a complete guide on Mumbai from food to things to do and events across the city here. Also download the new mid-day Android and iOS apps to get latest updates

The Story Re-Spun, Raymond's Khadi Project fashion show, was held on April 4 at its flagship store at Breach Candy

The guests gathered at Raymond's Breach Candy store earlier this month for The Story Re-Spun, a showing of the menswear brand's latest line, had one question on their minds - how will the corporate professional accustomed to crease-free workwear warm up to whimsical, organic khadi? But the team at India's oldest fabric retailer knew they had pressed the right button when the campaign around their just-launched Khadi initiative clocked 15 million views in 30 hours on their social media page.

Raymond has launched the collection in association with young designers Gaurav Khanijo, Anuj Bhutani, Ujjawal Dubey and Alan Alexander Kaleekal, and their choice of textile is the "fabric of the nation", which they call universal, and one that transcends age and social barriers. The brand has used its fabric technology expertise to lend khadi, drape and wash-and-wear qualities. The silhouettes and prints which comprise the collection of suits, tuxedos, bandhgalas, bomber jackets, hoodies, shirts and kurtas, are modern and approachable. To complete the look, on offer is a range of khadi accessories - ties, pocket squares, cuff links and shoes.

Varanasi-based textile developer and designer Hemang Agrawal's

"The design and technical teams from Raymond worked extensively with clusters of khadi weavers from across the country for over 12 months to give the fabric a whole new face and form," says Gaurav Mahajan, President-Apparel Business, Raymond. Style observers see Raymond's move as one that seeks to give sustainable fashion a nifty edge, a trait often compromised in the drive to produce ethical fashion, and promote indigenous crafts. Fashion entrepreneur and consultant Sabina Chopra says, in the absence of labels offering appealing sustainable designs at reasonable prices to the young buyer, Raymond's model could be one to ape. "Collaborations [between designers and fabric manufacturers] could be the way forward if we are to impact purchase," she thinks.

Summer 2018 collection reimagined Benarasi textiles to make minis and box-pleated dresses, and used Tanchoi and Katarwan weaving techniques to create the houndstooth pattern

While the world over, sustainable fashion champions fair trade, local techniques of production, and reuse and upcyling, in India, an ancient tradition of craft has moved focus to the revival of textiles. That it is currently also a political talking point, makes it complicated. "In India, we stress on sustainable fashion from an aesthetic point of view, motivated by the revival of textiles. There's too much of one thing, without regard for price point, the young customer demographic, fit or design," feels Delhi-based designer Arjun Saluja. He is currently occupied with creating a collection from upcycled cotton, with a focus on minimum fabric wastage. And so, the sustainable cause is a subtle story behind the collection, not its central identity.

After showing at LFW S/R 2018, The Good Loom showcased its summer collection of casual menswear and sarees, designed with a special focus on ethical production and getting the right fit at ARTISANS' gallery at Kala Ghoda last week

Hemang Agrawal, textile developer and designer from Varanasi, agrees. "Shoppers buy basis design and style. The ethical credentials of a label come later," he says. Living in a city that's at the heart of the ongoing revival of Benarasi weaves, he speaks of fly-by-night designers jumping in to claim to own the cause.

Agrawal decided it was time to rewrite the script; one that tested the sprightly, dressy competence of time-honoured Indian weaves. Un-Revive, his summer 2018 collection, included modern-day essentials such as minis Mary Quant-would approve, trench and box-pleated dresses, maxis, cropped pants and palazzos. He pinned his interest on the sustainability mast by working with master weavers from his hometown to create tartan checks, polka dots, houndstooth and geometric patterns using the Tanchoi and Katarwan techniques. "Why can't handlooms be young?" he says, explaining the thought behind using one of India's oldest textiles to create plucky, young designs.

Chopra wonders why sustainable clothes are devoid of colour or refined cut. A chunk of craft practitioners focusing solely on revival of textiles are taking for granted the design element of clothing. "Hence, the final tailored garment tends to be weak on cut, giving us tent-like, boring clothes…who decided colour is not cool?" she says. Veteran designer duo David Abraham and Rakesh Thakore of A&T push the boundaries when the former says, "Theoretically, you could do anything with craft, even design a bikini or hot pants. The trouble is, designers are not intervening into developing their own textiles. Ideally, they should."

A&T made a compelling case for ethics-meets-aesthetics with the recent #SadakSmart collection. Encouraged by DIY countercultural streetwear trend, the range looked at indigenous shapes, such as the salwar, kameez, saree and ghagra, and tipped them in favour of teasing everyday styles using updated versions of sequined Chanderi, aari embroidery, and floral patterns inspired by the great Indian chintz.

Not so long ago, anti-fit fashion found its moment internationally, and India, a land of drapes, was more than happy. The unstructured silhouette became an approved form of anti-fit, and handloom - one of the heroes of sustainable fashion - tagged along. Saluja points out that a change in design will take place only when we break the myth that hand-woven equals anti-fit. "The latter is about how you play with both, fabric and body - kiss it or turn it away from skin. Lend it form or leave it formless. Fabric development plus emphasis on silhouettes is key."

And so, good design is both the problem and the solution. Sustain, a 12-year-old apparel vertical of the Good Earth brand of luxury lifestyle, insists on being known as classically Indian. "We are not interested in being hip or cool. But we understand the value of offering modern clothing options that highlight India's incredible workmanship. It might be difficult to make khadi glamorous, so we've started working with Bhagalpuri silks for evening wear. Similarly, we've updated traditional embroideries by combining them with fresher colour ways," says Deepshikha Khanna, head of Sustain.

Rozana, a sub-brand of Sustain, positions itself as daily tonic for everyday wardrobe woes. Aimed at younger clients, it's a line of separates. Sassy shirtdresses, long and short kurtas, lehengas, kalidar kurtas and Hiba trousers are made in malkha cotton, khadi and muslin, priced between Rs 4,500 and Rs 22,000. Interestingly, timely interest by two of India's biggest fashion weeks has plucked the sustainable fashion lobbyists from their craft-based address to dazzling runways with dedicated show slots. The Autumn/Winter 2017 edition of Amazon India Fashion Week addressed the relevance of handlooms, while highlighting sustainable businesses with, The Handloom School. Supported by Good Earth, nine designers including Sanjay Garg, Neeru Kumar, Gaurav Jai Gupta, Rajesh Pratap Singh, Rohit Bal, Péro and Ekà worked with weavers and textiles designers under the watchful eye of textile revivalist Sally Holkar.

For the last seven years, Lakmé Fashion Week has dedicated a day towards the promotion of Indian crafts, recycling and re-purposing. "It started as a means to encourage dialogue on sustainable values. And with initiatives like #CraftisCool, we are working towards creating viable collections that appeal to high street sensibility," says Gautam Vazirani, fashion curator, IMG-Reliance, organisers of LFW.

This season, LFW collaborated with The Good Loom, an artisanal brand from GoCoop, (the first e-commerce store to win a national award for 'Marketing of Handlooms') to present a selection of smart, casual menswear and sarees, with a special focus on ethical production and getting the right fit. It was a sincere attempt at bridging the gap between how the country's Instagram generation interprets fashion and its duet with indigenous craftsmanship. "That sustainable fashion should be sexy, and not stop at mundane or homogeneous, is now our agenda. The millennials don't see themselves dressed in kaftans or anti-fit shapes," adds Vazirani. But he's up against a challenge. Designers often tell him of the 35+ consumer loving the anti-fit way. Saluja has an answer to that. "Let's not be blinded by the revival manifesto. Sixty per cent of India's population is under 35, and they are seeking stylish ready-to-wear options."

Challenge of handlooms: Colour forecast doesn't figure in our scheme
For 11-year-old label, Amrich, led by Delhi-based Amit Vijaya and Richard Pandav, instead of reinforcing a divide between ethical and non-ethical consumers, they prefer to be known as a Western wear brand of separates, infused with enough versatility to be worn in Indian styles. "Working with handlooms is not without its unique set of challenges. For example, we can't afford to follow the colour forecast, since we work with natural dyes. Plus, we work with tricky timelines. We have to work two years in advance since there is lot of back and forth between craftsmen and our design team," says Vijaya. Luckily, the two design and develop their signature shibori in-house, making it possible to control how the garment is cut. "It also allows us to keep the price affordable. The shibori range starts at Rs 13,000," he adds.

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