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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
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