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Hindustan Times
6 days ago
- Entertainment
- Hindustan Times
Chitrangda Singh: I like when an outfit allows me to feel like the most authentic version of myself
As much as her acting skills are lauded, Chitrangda Singh creates equal noise with her classic style. But for her, it's all about showing your individuality. 'Fashion should never overpower who you are, it should quietly reflect your essence. I've gravitated towards styles that feel effortless yet striking,' she says. Outfit: Varun Nidhika | Jewellery: RK Jewellers | The actor stuns in a wave chevron pearl botanical ball gown with intricate lacework and embroidery details, and gold earrings. Both Varun Nidhika and RK Jewellers will be partaking in FDCI Manifest Wedding Weekend on August 2 and 3 at Taj Palace in Delhi(Photographer: Vivek Desai) Outfit: Supria Munjal | Jewellery:RK Jewellers | Chitrangda stuns in a one-shoulder gown, hand-embroidered with jewel-toned threads in magenta, teal, gold and bronze forming hypnotic concentric patterns inspired by Italian mosaics. The look is completed by intricate stud earrings from. (Photographer: Vivek Desai) The actor last seen in Housefull 5, adds, 'I love a classic silhouette with a hint of drama, something that balances femininity and strength. Whether it's a saree or a sharply tailored suit, I like when an outfit allows me to feel like the most authentic version of myself.' Outfit: Varun & Nidhika | Jewellery: RK Jewellers | Catch the actor in a strapless wave chevron pearl botanical ball gown featuring intricate lacework and embroidery details all over. The matching structured cape highlights that extra chicness. She finishes her look with a pair of gold earrings.(Photographer: Vivek Desai) When it comes to trends, Chitrangda Singh is not someone who rushes to be a part of them. 'I enjoy observing trends, but I'm never in a rush to follow them. For me, fashion is more intuitive if a trend aligns with my aesthetics and feels comfortable, I embrace it. But I do not believe in wearing something purely because it's 'in.' I think the most memorable style statements come from individuality,' she insists. Outfit: ATBW | Jewellery: ASV Polkis | Chitrangda wears a hand-embroidered organza saree adorned with delicate geometric floral motifs, pairing it with a classic corset blouse. Her look is completed with a 14k gold necklace, set with violet tanzanites and syndicate polkis in an open floral and crescent design.(Photographer: Vivek Desai) Having started her film journey in the 2000s, ask her what she misses the most of that era's fashion and she says, 'I do miss the playful, carefree energy of 2000s fashion there was a certain charm in how we experimented with colors, low-waist jeans, and chunky accessories. It wasn't always refined, but it was bold and expressive.' Outfit: Wazir C | Jewellery: ASV Polkis | Chitrangda is a beauty as she dons a delicate ivory saree featuring a soft organza drape and a georgette blouse, detailed with Kashmiri aari and Tilla embroidery. Her look is completed with a delicate necklace in 14k gold, featuring hand-painted enamel, sparkling polkis, and tiny emerald drops.(Photographer: Vivek Desai) However, she does admire today's style too for being bold and risque: 'What I absolutely admire about today's fashion, though, is the awareness whether it's sustainability, inclusivity, or body positivity.' Outfit: Chique Clothing | Jewellery: Soni Sapphire | Chitrangda looks beautiful in this emerald green kurta featuring a burst of hand-painted florals paired with loose pants. Her look is further elevated by a 92.5 sterling silver necklace set.(Photographer: Vivek Desai) But traditional or modern fashion, what is her go-to? 'There's something special about traditional fashion. It carries culture, history, and emotion whether it's a handwoven saree or heirloom jewellery, it feels rooted and timeless. At the same time, I love the versatility and freshness of contemporary fashion as it allows for reinvention and self-expression. I think the beauty lies in blending the two, bringing a traditional grace to modern silhouettes or giving ethnic pieces a contemporary twist,' she states. FDCI If you are looking to shop for your wedding then The FDCI Manifest Wedding Weekend is here to make your shopping journey smoother. From gorgeous pre-wedding attire to lehengas and enticing jewellery, this is the perfect place to be. The FDCI Manifest Wedding Weekend will be held at the Taj Palace, New Delhi on 2-3 August, 2025. CREDITS: Creative Director: Shara Ashraf Prayag Mishra Photographer: Vivek Desai Words: Akash Bhatnagar Stylist: Shara Ashraf Prayag Mishra and Sameer Katariya Makeup: Reshmaa Merchant Hair: Tina Mukharjee Footwear: Two Até Location: ITC Maratha, Andheri (E), Mumbai
Mint
03-07-2025
- Entertainment
- Mint
An exhibition to celebrate ‘risha' a breast cloth that tells stories of Tripura's tribal women
At the panel discussion held as part of the ongoing textile exhibition, Revisiting The Risha: The Identity of Self and Community, hosted by The Registry of Sarees (TRS) in Bengaluru, designer Aratrik Dev Varman had a packed house listening to him in rapt attention. Dev Varman, the founder of Ahmedabad-based fashion label Tilla, was narrating a mythical story on the origins of the risha, a narrow, unstitched textile worn traditionally as a breast cloth, by women from Tripura's indigenous tribes. The story, featuring a king and a divine snake as its main characteristics may not have had a customarily happy ending, but it served as a memorable introduction to the audience who were, in all likelihood, seeing these textiles for the first time. Curated by TRS' Aayushi Jain, the ongoing exhibition features 24 cotton rishas from Dev Varman's personal collection, and is an offshoot of a six-year-long study done by him and designer and collaborator Jisha Unnikrishnan, titled The Risha: History In A Narrow Weave. The rishas on display are over 50 years old and woven in cotton yarn, a rarity today. Look closely at each piece and you'll observe variations in their width—some are broader, some narrower, with different colours and motifs. Each tribe, as Dev Varman shared during the discussion, had their own weaving techniques. As yet another brilliant example of India's tradition of unstitched draped weaves, what perhaps makes a risha (a word derived from the native Kokborok language) unique is that it was traditionally woven by women, on backstrap looms, for their own use. And both the royals and commoners practised it. 'Backstrap weaving is a very strenuous activity," Unnikrishnan says, adding that today, rishas are woven using acrylic or lurex yarn on frame looms for commercial purposes, and vary vastly in terms of their quality, colours and texture. And unlike the past, where they were worn by the women daily along with a longer, wraparound drape called the rignai, today, the function of the risha itself has changed. 'It's used to felicitate someone, men wear it as a turban and women wear it, during ceremonial occasions, over their T-shirts or blouses," explains Unnikrishnan. Ask him what got them started on this extensive study that spanned from 2018 to 2024 with a brief pause during the pandemic, and Dev Varman attributes it to the chance discovery of two sets of photo albums seven years ago. 'One set documented village life in Tripura from 1970 to 1980. The other was a collection of royal photographs taken between 1862 and 1896 by Raja Bir Chandra Manikya. The photos showed us that the risha used to be woven by the women who wore it," says Dev Varman. The discovery compelled Dev Varman and Unnikrishnan, who were busy with a British Council project at the time, to look for answers as to why the traditional risha had quietly disappeared from popular culture from the 1980s onwards. 'The photos led us to research the social history of Tripura via this narrow piece of cloth," says Dev Varman, adding that while historical events are diligently recorded, very rarely does the disappearance of a garment garner similar attention. But probing that disappearance, he says, 'is another way to explore a region's history." Studying the risha, he says, 'became another way for us to understand contexts like the conflict between Tripura's tribes and Bengalis or the influence of Rabindranath Tagore on the royal court." The study received editorial and research guidance from the team of Indian art magazine Marg, which also published it last year. But that's not the end of this story. Tilla now works with a small team of women weavers from the villages of Gamchakobra and Lefunga in west Tripura. There are now plans to make new designs out of the woven fabric. 'For this year's winter collection, we've already started ordering fabrics which will be stitched together to make jackets," says Dev Varman. Revisiting The Risha: The Identity of Self and Community is on at The Registry of Sarees, Krishna Reddy Layout, Domlur, Bengaluru, till 13 July, 10.30am to 5.30pm (closed on Mondays).
India Today
27-05-2025
- Business
- India Today
The rise of artisanal fashion in Kashmir: Craft, culture, and community
As the global fashion industry pivots toward sustainability, artisanal revival, and ethical supply chains, Kashmir—often spoken of in terms of its conflict—emerges as a fertile ground for a quieter, more powerful revolution: the regeneration of indigenous craftsmanship through women-led entrepreneurship. In a region historically known for its Pashmina wool, Tilla embroidery, and Pherans, Iqra's story represents not just a personal pivot from academia to design but the broader transformation of Kashmir's craft ecosystem into an entrepreneurial engine with social, cultural, and economic Today spoke with Iqra Ahmad, founder of Tul Palav, a luxury fashion label from Srinagar, to get more insights on WOMEN'S PARTICIPATION IN CULTURAL ECONOMIESThere is growing attention to the role of fashion and craft enterprises in facilitating women's economic inclusion, especially in regions with limited formal employment avenues. Industry models that focus on mentorship, peer learning, and internships help equip the next generation of women with the skills needed to lead and innovate within the sector. Strategic collaborations with institutions offering formal design education have also contributed to a more skilled local workforce and fostered entrepreneurship amongst rural fashion becomes increasingly globalized, maintaining the integrity of regional craft traditions presents a critical challenge. Design philosophies that centre authenticity, rather than fusion, seek to highlight traditional forms in their original context. Reviving lesser-known or endangered craft techniques and embedding them within culturally rooted narratives helps preserve the intangible heritage while aligning with international standards of artisanal OF THE DESIGNGlobal interest in regional craftsmanship has provided crucial validation and direction for many cultural enterprises. Diaspora engagement often serves as the initial bridge to international recognition, which then expands to broader markets. Exposure to global audiences has encouraged the refinement of techniques and narratives while also reinforcing the value of cultural specificity in design. Such feedback loops are instrumental in shaping a design philosophy that is both rooted and communities often play a critical role in amplifying regional crafts and cultural enterprises on the international stage. Their dual familiarity with local traditions and global contexts makes them powerful advocates for indigenous art forms. In the case of Kashmir, diaspora-led cultural events and festivals abroad have helped spotlight traditional garments and craft techniques, fostering global recognition. This dynamic not only bridges cultural gaps but also enables craft-led brands to connect with wider, more diverse audiences. Such organic networks offer alternative routes to global markets, beyond conventional fashion
