The bond is sealed. With a passionate kiss. The romance between the worlds of cosmetics and clothes grows stronger this season. Lakme’s style statement for Summer/Resort 2015 is Sculpt, and Anamika Khanna, its grand finalist for the upcoming national pageant, looks at multi-hued lipsticks for inspiration.
Sculpt is a significant departure from her stylistic canon, given Khanna’s signature ivory-black-gold palette and her devotion to sinuous drapes. “This line will have both ethereal and strong designs. It’s about revisiting traditional crafts and celebrating colour and contour. A mood board of richly pigmented high-definition matte lip colours such as vivid coral, bold pink and luscious plum defines the look. This collection is about new thoughts; about interpretations based on a range of cosmetics. While a pre-set palette gives me a sense of direction, it also proves to be a challenge to create within that spectrum. And, I guess, this serves as a creative stimulus.”
With a line like Sculpt, one imagines silhouettes that perfectly mimic architectural shapes. But Khanna says, “For years, the fashion world has been obsessed with shaping and sculpting. I didn’t perceive Sculpt in the traditional way. Instead, I chose to play with the contrast of sculpting and de-sculpting for a look that brought together structure and fluidity to evolve a fresh style story.” As images of her famous dhoti-inspired drapes launched many seasons ago play in the mind, she adds, “I will continue to derive new shapes. I want to take Indian inspirations and sculpt diverse looks.”
Indian inspirations? Yes. Both her recent lines — ‘Luxury 2014’ launched late last year and a Khadi collection unveiled early this year — display a retro-future repackaging with interesting play on proportions, clever cuts and canny use of fabrics. “The core is always Indian,” she says. “Khadi is traditionally limited to a certain space. But for me, it opened a new world of creativity. It is the ultimate luxury fabric because it is handmade.”
A self-taught designer, Khanna began rewriting the language of couture ever since she launched her eponymous label. Recognition, awards, international shows and a flourishing retail business that spans stores across the country helped her foster an original ‘luxe-bohemian’ aesthetic. “A huge volume on African textiles stirred my interest in the finer points of fabrics. I grew up appreciating traditional textiles and crafts. They have been major influences on my work. But for any tradition to survive, updates and experiments are crucial.”
Over the years, Khanna scaled the boundaries of style. She experimented with silhouettes, played with layers and textures and attracted the interest of the fashion-conscious with taxonomy-defying dhoti pants, billowy palazzos, cowl-drape dresses and cape-like jackets. Embroidered appliqué, intricate floral prints, eclectic motifs and a happy mix of vintage crafts took the designer to international runways. “But the world has shrunk. I realised that India with its strength and glory is as huge as the rest of the world. It is no longer required only to look at the international space, though Paris continues to be important.”
Investor-funding came in quite early in Khanna’s career (2004) and she launched the label Ana-Mika for an international clientele. It’s not something the Indian design fraternity is familiar with. But investor-funding happened in her case, simply because of the global appeal of her Indian inspirations. “Ana-Mika was a learning experience. It started with an idea and grew huge in no time. I made mistakes, but it opened my eyes to the world. It made me understand the importance of cut, professionalism and the fact that less is more. It also made me realise that what we have in terms of textiles and crafts is unique and that the world market is open to that.”
As for retail and ramp experiences abroad, she says, “There are no whims and fancies there. It’s tough and competitive. Price is a huge factor, so is quality. Things like practicality and wash care matter. The collections need to be crisp with a clear vision and timeless appeal.”
With her label being frequently endorsed by Bollywood’s A-listers, Khanna did try her luck in films. “ Dilli 6 was a breeze. I did the film over a phone call. Sonam Kapoor is a clothes horse. She can make any design come alive. Currently, I’m working on Suraj Barjatya’s Prem Ratan Dhan Payo with Salman Khan and Sonam in the lead. Fashion-wise, Bollywood rules the country. It’s an enriching experience for people from the film and fashion worlds to come together. But there’s still a long way to go…”
