Fascinated by this small floating village just north of Fort Kochi called KADAMAKKUDY I visioned this particular design.

This jacket was where the signature zig zag embroidery was first sketched. Given its intricacy and doubtful possibility, I first tested this technique on a few Nehru jackets to see how they hold. Given the outcome, I was confident to go ahead with this. 

Now, Kadamakkudy is a village that, if seen from above, looks like thin strips of land (mostly roads) running in perfect geometry while having water on both sides. The white stripes that are connected to the main black piece of the jacket using this zig zag technique gives the idea that these strips are floating. The small beads detail show people/family gathered at these roads and spending quality time by the water.

Sometimes seeing clearly is not the key - blurring your view reveals the actual picture.

The warm red lines formed by the sky reflecting off the glass windows of the Bikaner havelis.
The black lines formed by the birds tracing their paths in the sky.

One pattern, two stories, but both made possible through the same sky.
One uses it to shine. The other, to soar.

Its a reminder. That often without even realising, we become part of someone else’s design. Sometimes we are the reflection. Sometimes we are the canvas.

Why I never used Bandhani in my designs and why I named this look
Safadhani.

I needed a meaning, a purpose and a perspective so different that it finally made sense to use this craft.
Found it in the technique of tying the traditional marward safa. tied firm around the head, shielding the mind. Keeping it clear, untouched by the world’s noise. Bandhani works the same way - knots tied firm, shielding the fabric. keeping it clear, untouched from colour.

Design without intention is decoration.

Design with intention becomes an identity you proudly carry.

On my recent trip to Kochi, I noticed a rather interesting practice:

Fishing nets - small pieces of this net was being attached to the main net by the fishermen at places where it had been torn. While they were joining these pieces, they left the raw edges unfinished and every time that net took a dip the raw edges became more prominent, creating quite a visual to see. 

This observation inspired the raw edges on this jacket and the cowrie shells since its a beach side story. 

Kapda sirf dekhne aur choone ke liye kyun? What if fashion could be heard?

An evening in Italy over aglio e olio, a though stirred. Clink! my fork hit the plate and the sound it made was so familiar that i was back in....

MARWARD.
  1. The sound? - my land’s ghungroos adorned on ankles.
  2. The thought? - Why stop at just visual and tactile? Why not sound too?

The tradional Dabu print of Rajasthan shown through the white stripes represent the handmade spaghetti and the fine french knots represent the bits of rich garlic.

On a bus in rural marward, I noticed something striking, and this is how I brought it to menswear -

• Tattoos; not the polished kind we city folks flaunt, but ancient tattoos crawling up their throats and arms. The purpose? - To mark what matters; Symbols of devotion, protection and belonging. Theirs for survival and legacy, ours for style and expression.
• Odnis; The idea for this shawl came from watching women make baby carriers from their odni - resourceful, rooted and real.
  

This look is a homage to their ink and ingenuity - stitched into a fabric that carriers both memory and meaning.