India Fashion Week

I recently learned that India Fashion Week was in March! Unfortunately, it was right after I left. Still, since the various fashion weeks of 2013 happened just last month (a few while I was in Europe), I thought I'd take a look at what is on-trend in Indian fashion.

 Here are some of my favorites:

Though slightly westernized, overall the clothing is traditionally Indian in appearance. However, according to this New York Times article, the emergence of traditional Indian clothing during Fashion Week is a new occurrence. Apparently it used to be much more westernized, but recently designers have been embracing the more traditional side of Indian fashion.

So what about Europe's fashion weeks? The pictures below show some designs from Paris Fashion Week in early March. Though at first glance they do not seem traditional, there is something slightly retro about the designs. The print in the first dress below and the cut of the shirt remind me of some of the styles from the 70s and 80s on display at the V&A. Not traditional--but perhaps still harking back to previous trends?

The Sari

Fashion in India involves many outfits, but the most identifiable is the sari. I have been reading The Sari by Mukulika Banerjee, which provides an interesting history of this specific form.

The sari is a long stretch of fabric, some as long as nine yards. This fabric is not stitched in any way, but draped in different fashions. Usually a petticoat and a blouse (called a choli) is worn under the sari. Because the sari is just a length of fabric, it can be draped up to 80 different ways and is very versatile.

Below is one of the ways to wear a sari, with the fabric wrapped around the waist and then over the shoulder.

However, there are many other ways:

I find it interesting that one item of clothing can be used in so many different ways. I cannot think of any western article of clothing that is as versatile! Also, when compared with traditional dresses of Europe, the sari is much simpler without the many added layers of petticoats, probably because of the climate.

Colors: Red

Red has many different meanings in Indian culture. In marriage, red plays a major part for the bride. She wears red clothing, red henna, and in some Hindu communities, wears bright red sindoor powder on her hairline to show she is married. Red also symbolizes fertility, purity, and is generally associated with positive energy.

In Western culture, red is often associated with danger, love, or anger. The villain is often dressed in red as a warning and a way of showing power. The love interest is also often dressed in red, though usually not the ingenue, but the more experienced character.

Walter C. Hodges' costume design for Lady Macbeth is shown below. The red in the dress helps convey the character's power and ruthlessness.

Below is the main character, a young bride, in Bollywood movie Monsoon Wedding. Note the red accents throughout her outfit.

Colors: White

Although the costumes in Bollywood movies differ in style, they all share one factor: rich, vibrant colors.  While in India, I noticed the fashion on the street was similarly colorful--a bright purple sari was more common than a dull brown one. Though Bollywood and street fashion definitely influence each other, the colors in Bollywood costumes have more significance than just looking pretty. Many colors symbolize different aspects of the character's personality or even hint at that character's future.

Of course, the use of colors as symbols is not unique to Bollywood costumes. The costumes of Western theater use colors for added meaning as well--pastels for the love-struck ingenue, dark reds and blacks for the villain. Though some colors and their associations are shared in both Western theater and Bollywood, many colors have entirely different meanings in India.

The color white is often used in Western theater to symbolize youth and purity. Alternatively, it can symbolize wealth and high status. In India, white symbolizes peace. However, it is also the color used in mourning. For example, the Indian movie Water, which documents the life of a widow, has the main character wearing a white sari for movie. The reason for white is because white is devoid of color, and therefore a widow wearing white is disconnected from the luxuries of life around her.

Below is the poster art for the film Water:

In the 2009 revival of the musical Ragtime, costume designer Santo Loquasto has the people of New Rochelle--the upper class, rich, white family--all wear completely white costumes.

In the 2010 revival of A Little Night Music, Anne, the young, innocent new wife, is dressed in all white.

These differences in how costume designers use the color white are interesting to study, as they are based in the country's culture and the preconceived associations with these colors. Next time, I'll look at red!

Choli Ke Peeche Kya Hai

Another very popular Bollywood song from the 90s, "Choli Ke Peeche Kya Hai" is from the 1993 movie Khalnayak and features many beautiful costumes. As you can see from the below picture, the main character wears a vibrant costume with many reflective decorations on the bodice. The top and skirt also have small coins that make noise as she moves, similar to the ones used in belly dancing. You can watch the number here.

While researching this song, I found out that it was a subject of great controversy in India for many years for the suggestive lyrics. The title translates to "what's underneath that blouse?" And was originally intended to be cut from the song. The number also caused controversy because of the "saucy" dance number, although as Monika Mehta notes in Censorship and Sexuality in Bombay Cinema, the movie was determined suitable for those 15 and over by the British Board of Film Classification. This discrepancy is interesting to examine, especially when one compares the costumes in this number to similar ones in Western films or even Western theater. It is clear that the Indian and Western standards are different in lyrics and in costumes. 

Chaiyya Chaiyya & Bombay Dreams

I am officially back from India! Though I will miss lime soda and dosa, I am happy to be back in a place where people obey traffic laws.

Since I returned, I have been watching a lot of Bollywood dance numbers on Youtube. I love the quick costume and set changes and the intricate jewelry in all the songs. One song I particularly love is "Chaiyya Chaiyya" from Dil Se.., a 1998 Bollywood movie. You can watch the number here.

I love that in this number the main guy (King Khan) wears a very 90s-looking red jacket while the rest of the dancers are wearing very traditional costumes. The combination goes to show how even in Bollywood films, the costumes are influenced by the popular fashions of the time.

Even more interesting about this number is that it was used in Bombay Dreams, the Andrew Lloyd Webber-produced Bollywood musical that closed less than a year after it opened on Broadway. I am a fan of Bombay Dreams because it uses a few songs from originally Bollywood movies, like "Chaiyya Chaiyya." I am intrigued by this crossover of Broadway and Bollywood, since as far as I know no other show on Broadway has embraced the Bollywood theme as much as this one. Although Bombay Dreams did not receive very good reviews, it still managed to gain a few Tony nominations, including best costume. You can see the elaborate costumes from the show below:

Mohabbat the Taj

While in Agra, I was lucky enough to see the show Mohabbat the Taj, a "mesmerizing dance drama" depicting the love story of Emperor Shah Jahan and his wife Mumtaz Mahal. Though the show was not  quite as epic as it the description led me to believe, the costumes were amazing. Luckily the theater had some of them on display, so I was able to look at them in great detail.

Below are two costumes of Shah Jahan and Mumtaz Mahal. These characters did not move as much as the ensemble, who put on elaborate dance numbers. As you can see, the two main characters' costumes are very vibrant and richly colored, with great detail in the designs of their costumes. 

Many pieces of jewelry from the show were also on display. One major difference between Indian costuming and Western costuming is the use of heavy necklaces, bangles, and earrings like the one below. These are much more prominent in Indian costuming, and just as intricate and detailed as the costumes themselves.

Below are some of the other costumes hanging up. These are the costumes of the dancers, and therefore have to allow more movement. Still, they are all very brightly colored and relied heavily on sparkles and sequins to catch the audiences' eye.

These costumes are beautiful, but I also know they are not representative of all Indian costumes. Next week I will discuss the different variations in costuming and clothing in general that I have witnessed here.

Rajasthan & Block Printing

I spent the past weeks galavanting around India. In my travels, I stumbled upon the practice of block printing, a method of dying textiles that is famous in the state of Rajasthan. While in Jaipur, we were shown many different scarves, bed sheets, and other fabrics dyed in this unique way. I even got to try my hand at block printing (though the result was not too impressive). Observe my sad elephant:

Ignoring my sad attempt, block printing can produce beautiful and complex designs. To do so, first the fabric is smoothed out on a flat surface. Next, a stamp-like block with a design is dipped in a dye and pressed continuously onto the fabric. The dye I used to make my elephant was all natural, coming from turmeric and spinach, but synthetic dyes are also used. Though I only used two, up to six different colors can be used to make more complicated designs, as you can see below.

The key to these designs is accuracy. After examining the method of block printing, I am amazed at the detail that goes into the cloth at such an early stage. In Western costuming, fabric is hand dyed only when the costume designer wants a specific color unavailable in stores. The process is rarely a natural as that of the Rajashtani block printing, and lacks the cultural richness.

Bangalore!

For the past couple of days, I have been in Bangalore, home of delicious food and brightly-colored clothing. Mosambi (sweet lime juice), gulab jamun, peda, and kootu have been my favorites so far (and Prithvi definitely did not help me spell those). And the fresh coconut juice from the street! Observe this pile of coconuts:

Clothing-wise, we visited a tailor shop that makes women's clothing. The colorful fabric is incredibly vibrant and beautiful, ranging from bright magenta to deep gold. I learned from the shop that when making saris, the blouses must be individually made for the wearer. Because of the customization, the person must be measured before the blouse can be made. Below is a photo of the tailor shop we visited. You can see the blouses hanging in the top left corner and the colorful fabrics on the right.

Here is Prithvi getting measured. She looks enthralled.

Tomorrow we leave for our busy trip to Delhi, Agra, Jaipur, and Mumbai. I can't wait!

Bath Fashion Museum

Hello! This week I come to you from India. I just arrived in Bangalore, but before I get into the Bollywood side of things I thought I'd discuss the items at the Fashion Museum in my birthplace, Bath. Bath is glorious, as was this museum, as you can see from these beautiful pieces.

The below dress is an evening gown from 1800. It reminded me of something Ms. Bennet would wear in Pride and Prejudice. Embroidered with tiny glass cylinders, it sparkled like it was covered in sequins. Evening gowns in the 1800s were often styled like Greek and Roman statues, with slender shapes and long skirts.

This gold dress is from 1925. It has a gold lace skirt and a "freeing" golden bodice. Designed by Paul Poiret, it was meant to free women from the corsets of the time. I love the detail in this piece and the rich golden color.

The last dress is from the 1950s, my favorite fashion time period.  The embroidery reminds me of dresses from the 1800s, while the full skirt is characteristic of the mid 20th century.

After looking at countless pieces at the museums in England, I find the rich detail throughout the centuries is amazing. No matter which decade, clothing always uses impressive embroidery, dye, or other decorations to capture the eye. Also interesting is the difference between these authentic pieces and what we see as costumes in movies, television shows, and theater--those made to look old still use the methods of today, resulting in clothing that is very cleanly made. Many of the pieces I saw, especially from the earlier centuries, lack that precision because of the tools and fabrics available at that time. 

Finally, a picture from an actual costume shop in London! Isn't it pretty?

That's it for Europe. Next time I'll start posting about the amazing India!

V&A Fashion - Part 2

Today I continue the discussion of the Victoria and Albert fashion exhibition, from 1900s to today.

The 1920s fashions show the "garconne" look, or the simple and straight style of the dress below. Fashions continued to be bright and vibrant and full of detail, often inspired my international fashion. For example, fans made of ostrich feathers like the one below were inspired by the excavation of King Tut's tomb in Egypt in 1922. Crazy!

The mid 1920s into the 1940s showed emergence of the style of the modern woman, especially through the Art Deco design and full length dresses that clung to figures.  The below coat was designed by Elsa Schiaparelli in 1937. It has two possible images--a vase filled with roses, or two faces. This idea came from the influence of artists like Salvador Dali.

The Surrealist art movement also influenced dresses like the one below from 1937, also designed by Elsa Schiaparelli.

Finally, the '60s! The best time period. Below are two of the dresses from this era, showing off the haute couture of the industry. French designers particularly used feathers and other embellishments in their gowns to enhance their image.

Today I visited the Fashion Museum in Bath which also had some fascinating items and a lot more information. I'll continue posting about what I learned next week!

V&A Fashion - Part 1

Welcome back! This week I come to you with some very exciting photos from the Victoria and Albert Museum in London. The museum has an amazing collection of European clothing in their large fashion exhibit, ranging from the early 18th century to present day. The exhibit is great because it has so many examples of the different types of fashion throughout history, as well as discussions of fashion trends and how certain pieces were constructed. Because the collection was so extensive, I thought I'd break it into different blog posts. In this one, I will briefly cover 18th and 19th century fashion.

Here is an amazing dress from 1750s. It shows the extensive use of silk textiles at this time period and the common floral print.

The next dress is from the same time period, but note the Indian shawl. It is from Kashmir India and made of goat hair.

In the early 19th century and going into the mid-19th century, dresses became more voluminous while keeping the classic silhouette. More vibrant colors became available, as seen is this hot pink dress from 1860.

Additionally, styles became more commercially available at this time, like the one below.

Finally, the below picture reveals the inner construction of a bodice from 1870. The details and different material that go into it are amazing.

Next time, I'll go further down the fashion time line!

Sewing Machines

Today I’ll talk more about the sewing machine, an important invention for both European and Indian costuming.

The sewing machine was invented in the 1770s century by an Englishman and revolutionized clothing manufacturing. Though they became popular in homes earlier, the sewing machine perfected by Singer and others was not utilized by factories until the late nineteenth century. The sewing machine allowed many articles of clothing to be created in a short amount of time, as well as ensuring their uniformity. 

Here is what the earliest Singer sewing machines looked like. I like the gold decoration!

As for sewing machines in India, I believe they became popular there the same time as the rest of the world in the late 1800s. Though I have not found any trustworthy source documenting their first use in India, I did find this strange short article from The New York Times in 1879, which has a short story about “the first sewing machine in India.” I find it hard to believe the tale is true, but it is interesting! You can read the short article here.

That's a very brief history of sewing machines. Next week I will be going to England, where I will get to research European costuming in-depth. After that, India! See you then.

Dress Completed

This week I finished one of the drama costumes: Myrtle’s pink dress! I loved making this dress because it is so quintessentially sixties and because it allowed me to refamiliarize myself with the European method of creating costumes. I discussed in my last blog posts the initial steps--design and pattern making, so I thought I’d wrap up this costume by talking briefly about final stages of costume making--sewing! My personal sewing machine is a small Singer sewing machine, but major costume departments generally have industrial sewing machines that are durable and efficient. 

Below is a photo of the finished product (without the hem):

And here are Lauren and Cameron, the actors who will wear the dress on stage. Because the dress had to fit both of them, it does not fit perfectly. But it does fit!

Fun with Patterns

As I've been working on costumes, I've been thinking about patterns, or the basis for creating clothing. If a costume designer is creating a piece from scratch, they will start with a drawing and then make it a reality, often by making a pattern. The pattern then allows for the same item to be made multiple times without variations. The dress I am currently working on will act as Myrtle Mae's dress in Harvey, and to create it I am using a pattern from the 1950s. Interestingly, little has changed in patterns from then ton now--the only major difference is sizing. While in the 1950s (and earlier) only one pattern was available for each size, nowadays one pattern will cover a range of sizes, making it easier for the sewer to adjust measurements.

Below are photos from earlier this week of the pattern I'm using for one of the dresses. I'll post the finished product next week!

Sketches in Design

This week has been a busy one, full of working, cooking, and costuming! I've been working on making a few dresses for the drama production of Harvey (February 23!). While making the costumes I've been reading a few books on the basics of costume design and execution. The Costume Designer's Handbook and The Costume Technician's Handbook  have been very helpful in learning the basics of costuming for theater. Both books are by Rosemary Ingham and Liz Covey and provide a very detailed overview of costumes, from how to identify fibers in fabric to how to draw proportionate figures. I have been applying much of the technical aspects this week, though I'm sure the design information will be useful when I start to research Bollywood costumes more in-depth. Sadly, I still await most of my resources regarding Bollywood costumes--many of the books are obscure and take a while to ship.

While I've been hunched over a sewing machine, I've also been looking at many notable costume designer's sketches for their shows. It is amazing to see the differences between designers in both the costume detail and the way they portray the costumes. One of my favorite things about costume design as opposed to fashion design is that costumes require a character. The character can be short, tall, fat, skinny, and half another half-dozen adjectives, all of which need to be portrayed in the sketch for the character's costume. Below are some designs by Desmond Heeley for Don Pasquale, which opened in New York in 1978. Heeley was educated in England and has two Tony awards for his costumes.

A Pintroduction

Costumes! What fun. I am Natasha Bonfield, a senior embarking on my research project to uncover the dark, mysterious answers to the following questions:

How do the costumes of Indian Bollywood and the costumes of European theater influence each other? When did this relationship begin? Which style influenced the other more and for how long? 

Chilling, I know. But before you get too excited, let me paint you a picture of what led me to this obscure topic.

Ann Hould-Ward's amazing costumes for
Broadway's Beauty and the Beast won many
 awards for bringing the show to life

My journey in the world of costuming began when I was a youth, woefully unprepared for theater camp. At the ripe age of six, I had never been in a show before, but that did not stop me from auditioning for Dorothy in the camp’s production of Wizard of Oz. Sadly, I was given the part of Munchkin #7 instead, a background role with no lines. I accepted defeat with dignity, thankful I was not given the fate of Tree, or worse, Lighting Assistant. It was during costume fitting that I first met Jean and began my descent into the madness of costume design.

I remember Jean being impossibly old, but in reality she was probably fifty or so. She was the ruthless leader of the costume department, her domain a huge storage space covered wall to wall in costumes ranging from Rapunzel’s gowns to Hamlet’s pantaloons. For each production, Jean created a costume from scratch for each cast member--and this was an intimidating task. The theater camp had so many kids enrolled they double cast productions, meaning Jean had to make sixty individual costumes within the short two weeks of camp. I still remember my munchkin dress--green plaid with puffed sleeves and little pink and yellow bows on the hem. After I saw my costume, I was a little less mad about being snubbed for the part of Dorothy.

Beautiful costumes of Devdas, as designed by Neeta Lulla

  Fast forward twelve years, and I return to my love of costumes, but in a rather different way. Jean helped me see what costumes can do for a show--make a thrown-together cast of seven year olds seem impressive, cohesive, even good. For the next few months I will harness my passion for costuming into a study of European theatrical costumes and Bollywood costumes, a project taking me to London and India for a more in-depth research of the two styles.