Through my thesis I wish to explore different levels of intersections; the intersection of tradition and modernity, the intersection of obsolescence and innovation and the intersection of time- from the past to the present and continuing into the future. I intend to explore the combination of the aesthetic qualities of obsolescence and the intellectual ideal of sustainability- by working with textile waste generated once garments are cut and sewn, or when fabric lengths are left unused on factory shelves because they are surplus or damaged.
Without tradition, art is a flock of sheep without a shepherd. Without innovation, it is a corpse – Winston Churchill India is rich in handicrafts; each state and each religion-based subculture has a different craft that they practice. The introduction of the concept of ‘fast fashion,’ the technology and the cheap prices that go into a garment’s production has replaced the essence of the ‘human hand,’ and therefore the handicrafts are less preferred and are gradually dying. Another pressing issue is that ‘fast fashion’ has given birth to the problem of the ever-expanding generation of fashion waste. Today when design has become a language, a way of expression- to me, a good design is something that connects to the people and helps them express themselves. And what better way than backing that language with culture, history and custom. The weaves in my collection were developed in collaboration with women from our MSSDS program, and the fabrics were sourced from the surplus waste in our Khadi stores. The idea was to not only draw from sustainable practices, but also, to make the collection ‘look sustainable’.
Credit- Aayushi Kuwadia