The growing shift towards sustainable fashion, however, cannot be disregarded. Though the term “sustainable” has become more of a marketing gimmick, there are many young designers who have taken on the mantle of actually employing problem-solving fashion techniques to curb fast fashion’s disastrous effects and bring on real change. One such designer is Kriti Tula, founder of the brand Doodlage, for whom sustainability is not just a buzzword to push her brand forward but a way of life. Doodlage thrives on an upcycling model, using industry waste and rags to create ethical designs that are both environmentally conscious and wearable. Brown Girl Magazine spoke to the designer about Doodlage’s zero-waste concept, the tough terrain she had to walk on in order to establish a game-changing fashion label, and the importance of functionality in sustainable fashion:
Tell us more about the concept behind Doodlage, the meaning behind the brand name and what it hopes to achieve.
As a designer I was always inclined to find solutions, and Doodlage started exactly with that agenda. Our aim was to start a conversation around ways to bring circularity in fashion and raise awareness around the impact of a linear fashion model.
Our brand name is a play on the word ‘doodle’ or the art of doodling. Each piece designed at Doodlage comes with additional doodles created by the artisan during the process of creation in order to fix a problem unique to his/her piece. These are a set of doodles that are designed at the sampling stage, its placement and suitability is left to each artisan to decide, making doodling a part of our design process.
What led you to start a brand around upcycled fashion?
We started collecting fabric waste from factories around Delhi, rejected for minor defects and post cutting waste, which are panels that are big enough to be stitched back together to cut more pieces. This allowed us to create short well-finished limited edition collections, saving tonnes of fabric from landfills and down-cycling. As we grew to understand various issues, scale and impact of the fashion industry, we found ourselves more committed to building a social enterprise making season-less clothes, working to provide better living wages for our artisans and using low impact raw material.
How personal is the concept of upcycling for you?
It is a concept that is deeply rooted in my system. I still remember the time when clothes were deeply cherished and handed down, repaired, up-cycled into new garments or other products before they became rugs or rags.
Doodlage’s latest collection features upcycled Frida and Celia summer dresses made completely from fabric waste.
What were some of the creative challenges you faced while upcycling materials for your brand?
It is tough to scale upcycling. It took us a while to get a hang of how to optimise the waste sourced. What kind of waste to source to create replicable styles. How to communicate and convince consumers to trust us to send them a similar outfit each time we upcycle a product. But scale is necessary for upcycling to be a fiercer alternative for people and the planet.
What challenges did you face in your journey of establishing a brand with such a unique concept?
It took us a while to connect to mass manufacturing units and organise sources for our raw materials as it wasn’t a simple shop from store model.
These units work with massive quantities of wastage, and fabrics we pick up from each unit to upcycle are far less in proportion. It was initially quite difficult to make this worth their while. But we are glad to have reached a point where people now reach out to us to help them work with their waste.
Working with fabric waste comes with multiple challenges. From justifying the cost to the consumer and the constant question of managing price points, competing with fast fashion when you can’t over-produce to avoid inventories and dead stock. To also now looking at the credibility of each vendor with the over-popularity of green fashion. Our main struggle is to find ways to make sustainable fashion more mainstream.
Upcycling is very much a part of South Asian culture yet when it comes to fashion it’s not something people easily warm up to. How difficult was it to create space and find a market for your brand?
There is a niche that is always willing to explore alternatives, we connected with this niche very early on in our journey and our initial acceptance encouraged us to do more. Even now, 40% of Doodlage’s audience just shops for our products and sees what we do as a value add while 60% of our audience is looking for consciously-created products.
A lot has changed in the consumer mindset in the last four to five years. The environmental problems are becoming more real and millennial consumers are becoming more conscious and accepting of things that the generations before us were skeptical about.
What is it that you particularly look for in the garment when starting your creative process?
We work mostly with factory waste. We look at how old the material is and what the defects in the material are before we source and start designing with the material.
Is it the garment or the scraps that direct the design or is it the design that sets the requirement for the garment needed?
Our creative process starts with the material we design for the material sourced, as the fall of the material and the compatibility of this waste to be stitched together affects the overall look of the final product.
What does sustainability in fashion mean to you and how important is the functionality of the outfit in this chain?
Sustainability for me is the balance between the environment, the economy and ethics. A lifestyle change needs dedication, research, perseverance outside of your comfort zone but it is rewarding in the end for everyone. The problem of pollution in the fashion industry often seems overwhelming but when endorsing sustainable fashion or lifestyle it is just important to start somewhere and take it one step at a time. Just consume consciously and make more aware choices for people and the planet.
I think functionality is key for any sustainable outfit, it’s important to push for wear and re-wear the only way for that to happen is when you are in absolute love with your outfit and are willing to find multiple ways to wear it.
What’s next for you and the brand? How do you aim to sustain and expand on Doodlage’s ethical mission?
We are working to raise funds to scale the impact of our brand. We want to be able to offer a wider product range to allow consumers to make a switch to sustainable alternatives and increase our direct-to-consumer reach in physical spaces, mostly with the right collaborations. And work to expand our B2B solutions for corporates and organisations looking to make small impactful changes in their system.
We have spent time finding solutions to work with post-production waste. Our next steps are also to create a collection system for post-consumer waste and find ways to work with that!
Turning fabric and cutting waste into wearable, functional fashion is not the only art Tula is a master of. In fact, sustainability and zero wastage run through every aspect of Doodlage’s design process. Any leftover waste that is generated during in-house designing is utilised to make accessories whereas scraps are used to make stationery items. There is a purpose for every element otherwise meant for the dump yard. It’s no doubt that a healthier planet demands such deep-rooted sustainable practices within industries and for more millennials and Gen-Z’s to have a conscious approach to living.
Ever since we can recall, the Cannes Film Festival has been a merger of movies and glamour. On one side, there are hand-picked films — ready to premiere and make their mark in the world of entertainment — and on the other, audiences and paparazzi alike are served epic moments in fashion.
The festival, aimed to preview upcoming films from all over the world, invites a wide variety of guests that span the film fraternity, of course, but more recently, has opened its doors to many digital content creators, including renowned South Asian creatives.
With a more vast guest list comes a more recent debate: Cannes is a film festival and not a fashion showcase. Kickstarting the debate this year was none other than ace Bollywood director, Nandita Das, who in an Instagram post shared:
Sometimes people seem to forget that it is a festival of films and not of clothes!
In short, Das wants Cannes’ narrative to continue to focus on films.
But of course, there’s been a paradigm shift in the guest list over the last few years; this shift has allowed talents from various industries — including lifestyle content creators, entrepreneurs, etc., who showcase their work in fashion and beauty like fine masterstrokes — to walk the carpet and represent their craft, making space for others in their industry.
Influential names like Dolly Singh, Kaushal, Diipa Buller-Khosla, and Shivani Bafna — all of whom made a raging impact on the red carpet this year — weigh in on the significance of representing South Asian artists/influencers on the red carpet, and how they feel they’ve been part of this paradigm shift at Cannes Film Festival.
Diipa Buller-Khosla
I believe that each step we take at events like Cannes sends a powerful message of diversity, cultural richness, and artistic excellence. Representation matters, and the presence of South Asian creators on the red carpet at Cannes helps broaden the narrative of beauty, talent, and creativity. It allows us to showcase our unique perspectives, narratives, and contributions, ultimately contributing to a more inclusive industry. By actively participating and making our presence felt, we help create more opportunities and spaces for South Asian creators, encouraging others to share their stories with the world.
Since 2015, the first time I walked the red carpet, till this year I have always been invited by L’Oreal Paris, one of the main sponsors of the event. It has always been such an honor to be invited to the festival through the makeup brand that I have been using for almost two decades, and, before my social media career began. Personally, I feel a sense of acknowledgment from such a prestigious brand, and its head office teams that sponsor Cannes Film Festival, and value the work I have done and continue to do as a South Asian content creator within the beauty space. Makeup, hair, and beauty will always play a big role within the film industry and it’s something I have always created my content around which is why I am proud to attend.
This is a proud moment not just for me but also [for] my peers and the entire content creator ecosystem given that we have reached such new global stages and presence. Of course, as you said, such film festivals, once considered as an exclusive hub for a congregation of the finest acting talents have, in the last few years, opened their arms to more people from the entertainment industry.
This is not just a sudden phenomenon with a burst of Indian creators at the festival this year but there is increased participation from non-film and non-South Asian celebrities across various spectrums from different sides of the world. Along with the many filmmakers, actors, producers, etc I also met some amazing influencers and entrepreneurs from other sides of the world. It’s amazing to represent India and celebrate and champion the advent of the digital ecosphere on such a prominent platform.
The confluence of actors and creators signified the amalgamation of traditional cinema and new-age digital influence, highlighting the transformative power of creative expression and how festivals like Cannes have become more forthcoming and progressive in their approach.
Cannes, like any other prominent festival, boasts of a red carpet that is synonymous with fashion and glitz, and I wanted to use this opportunity to represent all the amazing Indian fashion designers on the carpet besides, of course, attending the screenings. As someone who is just not an influencer but also an actress, I thoroughly enjoyed all the red-carpet screenings and meeting like-minded film talent from around the world at the event. At some point in the future, I would like to be attending Cannes for a film I’ve featured in.
Creators are often placed into boxes of where they belong and the rooms they can be a part of. Being on the red carpet dismantles the ideology that there’s a cap on how far we, as creators and as a South Asian community, can go and what we can achieve.
The Cannes Film Festival has always been viewed as the epitome of a glamorous event — everyone who attends looks like they’re living their best lives. I used the platform to share an authentic message of what the experience felt like for me. To represent all of us who doubt our potential, experience imposter syndrome, and are nervous to find their place, yet continue to push through to achieve their dreams!
As the first Indian American influencer to walk at Cannes, I hope I can inspire young women to confidently ask, ‘Why not me?’
There’s no doubt that the Cannes Film Festival is centered around films, and continues to be a unique space for the global film fraternity to bring their art and showcase their aptitude. But, creators like Bafna, Singh, Buller-Khosla, and Kaushal — a special shoutout to Raja Kumari for being instrumental in paving the way as well — have their own set of responsibilities to fulfill upon their invitation to the prestigious event. Their will to represent their South Asian identities, celebrate their industries, and continue to hold space for their peers makes their presence at Cannes more than just clothes.
All images in the featured photo are from the influencers’ Instagram feeds.
April 1, 2023April 1, 2023 3min readBy Shezda Afrin
While growing up, the only complaint I had when wearing desi clothes was that the embroidery on the fabric would always end up scratching my skin. As beautiful and intricate the details were, putting on an embellished blouse meant wearing an inner or a comfortable t-shirt underneath. Fortunately now, many South Asian brands are changing the game; focusing not only on the quality and intricacy of the embroidery, but also on comfort and wearability of the blouse itself. One such small business is Khushey.
Khushey is a one-stop shop for “buttery soft” performance blouses that don’t compromise on comfort for fashion and pair just as well with any of your mom’s saris as they do with your newest lehenga. In an interview withBrown Girl Magazine, founder Neha Seelam talks more about what inspired her to launch Khushey and what the brand has to offer.
Why did you want to start a brand that specializes in South Asian/Indo-Western blouses specifically?
I wanted to specialize in blouses because blouses are really the only part of Indo-Western clothing that I found a specific ‘problem’ with — one I thought I could solve. I absolutely love everything else about our clothing — with the variety of patterns/styles/cuts available, I feel that you can easily find the perfect piece out there.
But the part of South Asian clothing that my friends and I found to be a perpetual challenge was the blouse. They’re usually gorgeous, but by the end of the day you can’t wait to take them off. Also, it’s so hard to find a fit that looks seamless and beautiful — usually the chest, underarm or sleeve just wouldn’t fit the way you want it to with the heavy material and traditional tailoring.
I wanted to start off with basic colors but in shiny/formal-looking material that I could mix and match with all the different colors and styles of South Asian clothes that I already have in my wardrobe. The goal is that the blouses can be used multiple times with different outfits, are ideal for long nights of partying, and feel great against the skin.
What’s the story behind the brand’s name, Khushey?
The English word “cushy,” which means comfortable, actually originates from the Hindi word ‘khushi’ (happiness). I thought that the origin story was very sweet and resonated with the idea of comfort and happiness I had for my label. That’s how I chose the word Khushey — slightly adjusting the spelling so I could snag the right URL!
What is your number one priority when it comes to your blouses?
Formal wear that’s actually comfortable! I would love for women to be in the moment at their celebrations, and not feel constrained, itchy, or uncomfortable in their blouse.
South Asian women! Customers, from recent graduates all the way to stylish moms, have loved the product — especially moms since they typically value comfort and movability if they have to chase down kids at events!
How do you think Khushey allows South Asian women to embrace their love for South Asian fashion?
Over the last decade, I’ve seen women repurposing crop tops from Zara and H&M as sari blouses, and while I think that’s awesome and creative, I wanted to create an option for South Asian women where every detail was oriented around recreating the perfect sari/lehenga blouse. The shine is intended to be appropriate for formal wear, the cuts were inspired by some of my favorite blouses from when I was younger that wouldn’t have bra straps showing from underneath and were versatile for saris or lehengas, and the embroidery is intended to add a desi flair.
You’ve mentioned sustainability on your website. How are your blouses sustainable?
I plan to donate five percent of profits every year to a sustainable organization. Once I get enough interest from the public, I would like to fund new product lines that use eco-friendly materials that were prohibitively expensive for me to launch with. But I am eager to incorporate recycled spandex/nylon and metal into my pieces once I can afford to!
What sort of designs do you plan on incorporating into your label in the future?
I’ve thought of so many designs that I can build on. Starting with colors; I’d like to have all of the major colors available in my basic sleeveless blouse and then create a more modest version of that blouse with a variety of basic colors as well.
I’d also love to expand the patterns and embroidery options on the blouses. I hope to create seasonal collections that enable me to tap into the vast array of style/color inspirations that South Asian wear includes.
Khushey promises to offer comfort and style, all packaged into one performance blouse that you can reuse with a variety of desi outfits. Like Neha said, ditch your Zara crop top for a design that actually complements your desi look. Make sure to keep your eyes out for her latest designs!
From humble beginnings, Rohit Gandhi and Rahul Khanna joined forces to create the worldwide fashion design brand Rohit + Rahul. Based in one of India’s fashion capitals, Delhi, the two take an eccentric approach to designing by utilizing geometry and modern art to build their design lines. This is commonly seen in some of their more recent design lines such as the ‘Fibonacci’ line. Also, the founding members of the brand Fashion Design Council of India, Rohit Gandhi and Rahul Khanna insert new meaning into fashion by telling a story to the younger generation. With their bold pieces, Rohit and Rahul want consumers to feel empowered and individualized.
Tell us about your journey and where it all started.
We began our design journey in 1997. We saw a significant gap in the global market between Western and Indian couture segments and [so] amalgamated our personal style statements to merge it with our conviction to cater to this deficit, and launched our brand. The brand stands for contemporary designs and embodies an aesthetic of understated red carpet creations. As designers, we believe in curating garments that are timeless and decorous. Also, we have entered our 25th year of creative partnership as an established designer brand.
Ten years from now we see our company with corporate backing, more evolved with exponential growth.
Which client are you most looking forward to working with?
The client we most look forward to working with is the youth of today. The younger audience is experimental and bold; they don’t shy away from trying new trends. We look forward to dressing clients who are ahead of their time, love to explore the world and understand our structure and silhouettes.
What was one of your favorite showcases? What was different about this showcase compared to the others you have had?
We embroidered our surface textures and did a presentation with masks which was quite unusual. Another interesting project we did was inspired by art which is the ethos of the brand. It’s our sublime passion for art that reflects in the thoughtful craftsmanship of our brand.
What was it like having a partner?
Two is a team and it is great fun working together. We take various aspects from each other’s lives and put those thoughts into our design process. We both are different personalities and critics of each other which helps us understand things better. The journey so far has been exhilarating and challenging too; we were a two-man army. Back then from managing designing to marketing, merchandising, and sales, all of it was managed by the two of us. Now, we have a team working alongside us which makes us feel we have come a long way.
What interests do you have outside of fashion?
Outside of fashion design, our interest lies in art. Our design inspiration is derived from art and architecture. The heritage and the vintage lineage of the city of New Delhi where we are based are what instill our passion for finesse and immaculate grandeur in the minutest of details. We have been successfully running our art gallery, Palette, which houses modern contemporary artworks of young and established minds alike.
Where did the idea for the Fibonacci show come from? What’s one of your favorite looks?
‘Fibonacci’ at its heart, is a nod to craft — both structural and artistic — where every piece is a study in precision. The collection brings together this iconic designer duo’s dedication to the study of structure in art and architecture, transferring these learnings to design. The idea of the Fibonacci show was inspired by the artist named Zaha Hadid, who is known for her liberated architectural geometry. Our favorite look is a mosaic sherwani which was recently worn by Indian megastar Ranveer Singh.
The Astral Gala line is inspired by stars and galaxies. It is a reflection of our love for the cosmic universe which is surreal. The line is inspired by the old-age divas from the retro era fused with new modern techniques of boning and construction.
What is your favorite type of clothing piece to design? Which clothing pieces do you find most challenging to design?
Constructed jackets are our favorite piece of clothing; we pay a lot of attention to our finishing and construction. Constructed pieces are the most challenging to design but it also gives us more room for experimentation. Also, heavy ornamentation/surface textures make the garments difficult to mold and sculpt hence, we face challenges with those garments.
It would be Billy Porter for his unique fashion sense.
What do you hope to take away from this interview with Brown Girl Magazine?
It is inspiring to connect with a global community-building publication like Brown Girl Magazine which reaches out to a huge audience. One of the key takeaways from this conversation would definitely be the power of storytelling and narration as an individual from the creative industry and its influence on the upcoming generation of designers.
How has the power of storytelling influenced your past shows and how do you plan to utilize it in your future shows?
Storytelling is a key aspect and we utilize our runway sets to showcase our brand ethos and the inspiration behind the collection. We showcased the Fibonacci collection at Couture Week last season. The collection was inspired by the movement that marries precision with an architectural penchant for precision, guided by nature’s invisible rule — the Fibonacci wave. The intricate set for the show was built by artist Akon Mitra by combining thousands of origami pieces that arched over a ramp to depict a wave in perfect mathematical proportion. The set design reflected the beauty of patterns defined by Fibonacci’s irrational number, where every pattern is uniform and built with clear lines and divisions.
What do you want people to feel when they wear your designs?
Brides and grooms should be comfortable and feel true to themselves when they choose to wear us. We want our designs to empower their true personalities and shine through on their big day!
Rohit Gandhi and Rahul Khanna have taken a unique approach to fashion design not only utilizing storytelling to define the identity of their goal consumer, but also modern art to shape their clothing lines. The brand has been featured in GQ, multiple fashion shows such as Amazon India Fashion Week, and dressed famous clients such as Aishwarya Rai, Deepika Padukone, and many more. Rohit and Rahul aren’t just two fashion designers that came together; Rohit + Rahul is a team that gives you an identity with their design work.
