Your new collection takes inspiration from Kashmiri architecture. Your native has always been a part of your collection. Do you believe that there are so many other forms of art and design from Kashmir that the world is yet to see?
WR: I draw inspiration from nature, culture and heritage and use them as contemporary design elements. My new collection Rangrez is also taken from Khatbandh Woodcraft of Kashmir. The rich ensemble of the traditional silhouette of Kashmir and my own interest in exploring the various dimensions of Himalayan motifs and calligraphy is evident in the collection.
The valley is not only famous for its wonderful climate and natural beauty but also for its exquisite textile crafts. If we look at the history, Kashmir was situated in ancient times on one of the many caravan routes which were connected and built on the silk route. The land routes of intensive trade between China and Central Asia had people from different groups on both sides traveling long distances and engaging in trade. It ensured cultural exchange in terms of language, crafts and other aspects of life. I believe that Kashmir has a lot to be inspired by the landscape, culture, craft practices and rituals.
How do you think architecture and fashion go hand in hand?
WR: It is widely accepted that the connection between fashion and architecture dates back to early men who used the same material for their clothing and shelter. This relationship has led to a close relationship between the two disciplines – both areas have similarities in their design process. Architects as well as fashion designers likewise aim to create perfect, comfortable and beautiful forms for the human body. It is almost impossible to practice architecture separately from fashion because both arts are responsive to the culture and environment of individuals and society. In a conceptual sense, both architecture and fashion address psychological perceptions and spatial structures. From a visual point of view, both arts reflect the tastes of the individuals occupying those spaces, and in terms of materiality, architecture and fashion have many things in common, such as the use of fabrics and materials, the use of technology.
Our latest collection imbibes that idea by piecing together pieces in textiles and taking a close look at the literal, symbolic and poetic aspects of the craft. We’ve used techniques that thoughtfully translate them – like hand pleating and ombre dyeing.
Tell us about one of your collections that has been really close to your heart and why?
WR: It is difficult to pick one collection because all the pieces I create are close to my heart. However, my latest collection is unique in a way because the painter in me has long wanted to explore colors, and at Rangrez I have been able to accomplish that.
Do you believe in trends? How do you keep your designs up to date with the changing times?
WR: At Roughhouse, we work on classic silhouettes. Much of our work is inspired by traditional and museum pieces. We aim to focus on classic seasonless, timeless and trendless silhouettes and aesthetics. People are now more aware of the planet and their impact on it, and as a result, we have seen a real boom in our pre-owned and conscious categories. Seasonal fashion has become very popular; These are timeless and well-made, beautiful pieces that will not date and can be worn from season to season.
The last two years were tough for businesses, especially for fashionistas. How do you plan to grow your business in the coming days?
WR: The pandemic has come as a big challenge for the fashion business. It has undoubtedly been the worst year in a long time for the fashion and luxury industry. The situation is probably as close to what people would have seen during the Great Depression. Apparently, retailers have been closed, and this has hampered sales. Leisure and casual-wear sales, on the other hand, have seen an uptick in the pandemic. While overall industry sales are down, we have also seen a boost and step change in digital platforms.
Challenging situations also bring opportunities with them. These are times when people from all walks of life have become creative in their respective businesses and every industry is adapting to the ‘new normal’ and innovating.
We got a chance to showcase Lakme Gen Next last year which opened many doors for us. Rafugar has done well for himself creatively and has been applauded for the same. This instills confidence and confidence that global markets view the industry quite positively and see a huge scope for growth over the next few years. India is a dream market for the marketers of many products. Household consumption has been very high in the last few years due to large population, increasing urbanization, increase in disposable income, organized retail sector etc. The pandemic is a temporary setback and with our domestic fundamentals going strong, we will overcome it soon and make way for it. Sustainable development in the near future.
Would you like to try your hand at fashion in the coming days?
WR: As the saying goes “never say never”. As of now, we have no plans to move into couture, but I’m thinking about building a permanent couture collection in the future. Once I figure out how to make a garment durable, we can try our hand at it.