An artist is hidden inside her who has metamorphosed from making paintings to unleashing creativity on fabric. Her inimitable floral motifs, meticulously crafted patterns akin to a kaleidoscope of geometric weaving on skirts, jackets and gowns are her hallmark. Meet Pallavi Mohan, who specialises in creating intricate patterns on women’s wear which on closer examination look like an artistic impression. The look is complex yet aesthetic, a melange of craftsmanship and modern cuts, but not an exaggerated one.
“I have been a painter since I was a five-year-old. Unfortunately, I have not held a brush for a long time. This artistic streak is now reflected on my clothes. But the process is different here. Rather than make sketches I work on the reverse. I work on the embroidery, colour pattern and then put them in classy old shapes. Our expertise lies in detailing. Silhouettes are easy; not complicated.” ,” says Pallavi, who showcased a Pre-Spring-2017 collection at Coterie, a trade fair, in New York City recently.
Pallavi believes there is timelessness about her clothes. “Each outfit is made to look like a work of art. Not paisley but a work of modern art. It is not seasonal but a treasure house which is up for keeps. Floral motifs invariably comes up in every collection. Even when I consciously avoid making flowers I end up creating and using them but in a new avatar. Uniqueness about my work is that I like working on dresses with my hands. I am not a computer friendly person so what matters to me is aesthetics and placement on the garment. We do not use computers at all in our work.”
So how did it feel competing against iconic brands like Armani? “It feels good to be there at Coterie. It inspired me to do bigger things. This platform, where we showcased for the third consecutive time, reminds us that the world has shrunk. My clothes have make in India written all over them. But I make them in a way that they are relateable; as good for a New Yorker as an Italian. What works in India is apt also for the West Asia. Fashion lovers can be from any part of the globe. This is what Not for Serious (label) stands for. I don’t change my collection for my show whether it is my trade show in New York or the fashion week which comes up in Delhi next month. Like food, fashion too has no boundaries,” says Pallavi.
Uniqueness about her outfits is that they look extremely modern and extensive detailing make them appear as a collector’s item. “These clothes are such that nobody would like to throw them away. I make them modern by sitting down with my karigars in Noida where we work on embroideries and each detailing in a systematic way. Like no zardozi but appliqué work, forms of Kantha but improvised and done in a modern way.”
Presentation plays a key role in Pallavi’s scheme of things. So whether it is fluid fabrics in intricate patterns and layering, leather applique work and denim detailing on printed organza they all contribute to give outfits an international look.
Pallavi’s fascination for 3D work has reached to a level that it has become her signature line. “We will be completing a decade in fashion in February and right from our first collection down to our last it has always been 3D-inspired. It is something in me; it comes naturally. Even in my work on textile in university days there were elements of 3D and soft colour variations. It is in my DNA.”
Shedding light on the methodology, Pallavi says: “We adopt multiple processes like create wiring to create petal and make them look like 3D. We do hand pleating and laser cut.” This time round, she used laser cut technique on silk organza to give a feminine twist to her collection.
Each time I showcase my work is well received. But I have to make something new.
Marble printing was used in a way that it made the whole craftsmanship come alive on the fabric. It was done right on top of the garment. It entailed dropping ink in a basket and then putting paper and swirling.
“Initially, we started with marbling and kept building on it. Marble printing is a cumbersome process. Not many people specialising in dying in the NCR. It is whole experimentation but to nail it right is a challenge. In digital printing I first scan, then take a print out. But I did not do this; instead I used this technique of my school going days on fabric.”
Inspiration comes from not just from India but everywhere. “I travel intensively; it could be something which catches my attention while travelling. It could be from a toy in my house to a flower growing in my garden. Mostly my clothes have floral motifs; they crop up even when I consciously try avoiding them for a season!”
However, her overall work is still subdued. “I don’t want to use bling and shine to get noticed. My work is clean, not over the top. It is luxurious clothing, but wearable.”
