is an artisan in his hometown realizing his intricately influential womenswear. However, until this season, London-based Ashish Gupta had never shot a series in India before. The reasons for this change may have been very unfortunate (a close relative suddenly fell ill when Ashish was visiting), but the results were encouraging.
The designer then approached a talented local photographer, Ashish Shah, who with his team and collections restored the distance The faded colonial grandeur of a three-hour drive to a hunting lodge. This environment allows Ashish to channel many 100% Indian subtexts in his subconscious, while These subtexts can often be diluted by the English environment. As we chatted at the kitchen table of his London residence (where he has now returned, relatively partially recovered), he thought the inspiration came from 100 of Masala films and contemporary Indian film magazines, Dates from India, Monsoon, his family in
beloved velvet bedspread s, Silsila’s tulip field scene, and
-ish BC Dancer sculpture unearthed in Mohenjodaro, Indus Valley.
It was almost by accident then that this series was the second – Fall Seasonal Evolution 1970 adaptations to India’s Eurocentric dress patterns: a postcolonial, postglobalization, and of course postmodern sprinkling of sequins to find fresh patterns. Madras checks, geek-knit vests, flannel shirts, and hand-painted flowers all elevate to siren status by transforming into sequins—Ashish has expanded the traditional ways of making things even before Bottega. From India to the UK and now back again, the latest chapter in Ashish’s story has a twist that expands the whole story – and includes clothes that fit you wherever you want to go. Ashish’s unexpected appearance in India proves a sequined writ exception to Salman Rushdie’s decree in “Midnight’s Children”: “The most important things in our lives happen when we’re not there when.”