Posted in Fashion & Lifestyle, Fashion Design, Fashion Media Communication, Pearl Academy Students, Women's Wear

PEARL ACADEMY STUDENT’S COVERAGE IN COSMOPOLITAN AS INDIA’S TOP FASHION BLOGGERS!

PEARL ACADEMY DELHI students have been selected as India’s Top Fashion Bloggers, by Cosmopolitan Magazine, coverage in their January 2013 issue ‘only in Cosmo’ pages.

Cosmo challenged India’s top fashion bloggers  as “How Gutsy Would You Go for Fashion?” to take the Bold and Tricky fashion trends to the streets. We are proud to have 2 India’s Top Fashion Bloggers in our Academy!!

RASNA BHASIN (p128)  is a semester 4 student of BA (Hons) Fashion Media Communication. Her tweets have also been published by HTCity and Vogue magazine, earlier in the year.

RASNA WEBLOG: www.cantsaywhatisay.tumblr.com

SRISH (Srishti Saumya, p124) is a Post Graduate Fashion Design (PGFD –  semester 4)  student of Pearl Academy Delhi. She is a  serious fashion blogger, was also featured in HT and one of prestigious design magazine POOL.

SRISH Weblog : www.stylefashionetc.in

Click here to view the whole coverage.

 

Source: Ms. Meha Palan, Associate Professor & Course Leader (FMC)

Ms. Ambika Megotra, Associate Professor & Course Leader (PGFD)

Posted in Fashion & Lifestyle, Pearl Academy, Women's Wear

SARI VS. STARRY (SAME OLD, SAME OLD)

Last week, as an extension of a book tour, I was invited by Delhi’s Pearl Academy of Fashion (PAF) to talk about my recently released book Powder Room: The Untold Story of Indian Fashion. The invitation came from Tarun Panwar, the head of the Luxury Programme PAF has launched just this year. I was to meet the first batch. Panwar had asked me to veer my answers to what’s Indian luxury and the peculiarities of the Indian luxury customer. In my 10 minute talk, I wanted to emphasize that the book looked at contemporary India through fashion and clothing but was not about the fashion industry. This was to be followed by a Q&A session for an hour. I expected the usual questions, falling back on the “asking pattern” of those who have been interviewing me in the past month. I was beyond wrong. Students have a rather different view of all operative words that mattered here–fashion, clothing, India, confessions, conflict. Yet to be swept into the tides (free falls and and ebbing too) of the fashion world, they asked me completely unpredictable and enjoyable questions. Fresh, free from baggage. Well, mostly.

The ones that threw me the most were from two students—one male and one female. The boy asked wanted me to take a side–for or against about “those who wore the sari, covered their arms and legs, did yoga, were from India, vs. those who wore tight, revealing clothes, who were, well, for want of a better cliche—westernised. My answer doesn’t matter here; what does is the absolute divisiveness of his question into “us vs. them” , modernity vs. tradition” seen so narrowly through the “sari vs. a short, revealing garment.”

Incidentally, I was dressed in a sari—a khadi drape with long blouse sleeves, presumably given the impression of a traditional person who toed the line. “Why do you wear a sari?” asked a female student. When I answered that I wore it because I found it to be the most elegant of all garments, that I didn’t have the figure to carry off a short dress, that I had grown up in a middle class family believing that the sari was the simplest of all (and confessed that I have changed my view now), she looked unconvinced. Are you traditional minded, she persisted. Not one bit, I said, smiling to myself. She clearly disbelieved me. When I told her that I also wore sexy saris, which revealed a lot of skin, her face clouded. She wanted to hear that I was a traditionalist in a sari and that those who “exposed” skin were people with another mindset. Panwar ended the debate there also because much of her peers had stood up to argue with the girl, hotly asking What Had a sari to do with being traditional?

I loved that interaction, it went on for much longer than planned and when Tarun commented that I was obviously surprised by young people with old mindsets, I agreed. I admit I was surprised. Just as these two students misread the sari as the sole representative of a traditional outlook; I misread youth for being the sole sign of forward thinking.

Source: Shefalee VasudevIndian Express, New Delhi, Mon Sep 10 2012, 17:09 hrs

Posted in Fashion, Fashion & Lifestyle, History of Fashion, Women's Wear

Evolution of fashion

 

As we are in the second decade of new millennium, let’s indulge in little bit of retrospection, the key moments in fashion, triggered by various socioeconomic movements during the 20th century. For what we know of the history of fashion until the end of the 19th century, it was mostly a fascinating footnote to the history of art. Much has changed and evolved in the history of fashion in the 1900s. It’s a stirring, exotic trip with detours aplenty — from the Fallper girls of the ’20s in their Channel dresses to the sheer elegance of Maharani Gayatri Devi’s pastel chiffon sarees, to the innocent candy colored can dresses of the ’50s Americana to the dark, stylish paired down dressing of the ’90.

When the century dawned, fashion was an exclusive enterprise, the pursuit of the wealth. The lower tiers of the society settled for garments that were more often than not entirely family hand-made-downs or stitched at home. With time, however, networks of neighborhood tailors began to evolve into a retail history and the boom followed by boutique selling. Today, garments are laser cut by computers and sourced from all over the world and can easily be bought sitting in the comfort of one’s home via the Internet.

Each decade of  this century ushered greater progress. “During the ’20s, one of the greatest influences on dress code was the movement towards equal status for women. Hence, a new breed of business-like women emerged and made corresponding demands on their dress, says A.K.G Nair, Director, Pearl Academy of Fashion. “The obvious choice for silhouette veered towards drop waist or box and the choice of color was black and grey and the fabrics preferred were silk and georgettes. “he says.

“In India, the fashion scenario was in confusion as it was a turbulent period of conflicting ideologies, when the consciousness of an Indian national identity was beginning to find political expression and the struggle for Indian independence was getting momentum, says fashion diva Ritu Kumar. Thus the fashion trends within high society, read the loyalty, was strongly influenced by the British with the result that Western clothes became a status symbol.

The ’30s heralded the idea of socialism, communism and fascism and women’s fashion became more and more feminine in keeping with conservative ideas. “However, this period also saw the emergence of the vamp and the culture of cabaret, “says Nair, noting that hence the dresses became more body hugging and the colors deep and dark in tune with such themes.

The establishment of the Indian cinema also proved to be the strongest influence on the fashion in the decade. Due to the Western influence, the use of angarkhas, choghas and jamas diminished considerably by this time, although the ceremonial pagri, safa and topi were widespread as ever. “They had been replaced by the chapkan, achkan and sherwani, which are still standard items of formal dress for Indian men today, “says Kumar.

“The women even though were accepting change, continued to wear their peshwaz, kurtas, ghaghras and odhnis at religious and ceremonial festivities, sometimes using imported fabrics but using mostly traditional hand woven fabric, “says Asha Baxi, Director, Fashion Design. National Institute of Fashion Technology (NIFT).

In the ’40s, it was Christian Dior, who turned fashion upside down with a new shape, with the bosom pushed up and out, a pinched waist and hips emphasized with short fluted jackets. “It was also a decade marked by the second World War and the ensuing independence of India with the result that women’s clothing was simple and functional, “says Nair.

The ’50s saw the dawn of art colleges and schools, which became places of rebel, and hence in silhouette, narrow waist and balloon skirts with bouncing patterns were in vogue. Even, the Indian woman turned bold but still true to her national dress. Also due to the freedom struggle and the espousal of khadi by Gandhiji, khadi garments became a rage giving a boost to the sagging handloom industry, according to Asha Baxi.

The ’60s one of the most shock-filled decades of the century, saw sweeping fashion and lifestyle changes that reflected the mercurial passions of the times. “This decade was full of defiance and celebration in arts and music and cinema, marked by a liberation from constraints and new types of materials such as plastic film and coated polyester fabric got popular, “says Nair. Besides, adds Bax,” tight kurtas and churidars and high coiffers competed with the mini-skirts abroad and at the same time, designers understood the need of the moment to launch cheaper, ready-to-wear lines. The sixties was the era that accompanied synthetic materials like nylons, polyesters and rayon. In this era, even the sari turned into a form fitted array and the choli turned skimpy and daring, giving the women a more sensuous look.

One of the most “revisited” and “retro” periods in the fashion, the ’70s is often called the “me decade.” It saw the beginning of “anything goes” culture with the result that fashion became another form of self-expression and bold colors with flower prints were adapted in tunics, with shirts and bell-bottoms, says designer Manav Gangwani. As drug culture became a mass phenomenon, psychedelic colors were garish, the shoes were tall and hazardous and silhouettes were extreme and the dressing of the ’50s was definitely out.

“The 70s also saw the export of traditional material with the result that export surplus was sold within the country itself and hence, international fashion came to India much before the MTV culture,” says Baxi. Synthetics became popular and the disco culture had a profound influence on fashion and the clothes became as flashy as the mirrored ball that spins over the dancers.

In the ’80s, the big money ruled. It was the era of self-consciousness and American designers like Calvin Klein became household names. In India too, silhouettes became more masculine and the salwar kameez was made with shoulder pads. Says Baxi, “Power dressing and corporate look became dominant dress code.” The influence of cable TV became more prominent and the teenage market boomed with youngsters going in for the trendy look, which in turn influenced the elders. In the mid-80s even the Indian male was introduced to the royal grandeur and comfort of ethnic wear giving kuta, chudidar, band gala, sherwani and jodhpuri jacket a fashion boost. It became fashionable to go the ethnic way, not only for ghazal and for qawali nights but also for formal occasions and even to office.

The ’90s the last decade of the last millennium, was one of the extremes. The excess of the early decade gave way to the drastic pairing down and stripping away in the hands of German designers like Helmut Lang and Jil Sander. “Perhaps the biggest fashion news of the ’90s has been the ascendancy of the younger generation of designers into the mainstream. The decade also looked for independent women with comforts, poise and   confidence as key features,” says Nair.

Fashion in India was no longer considered just a means to cover the body but also presented the best-dressed image to the world in numerous Indian as well as foreign labels.

The decade also saw the revival of ethnicity with films too becoming more discreet and launching a “back to ethnic” look. While on the one hand the new drive for information technology popularized the corporate look, an ethno-cultural revival made people again go back to the traditional forms of art and crafts. States Baxi, “As it is Indian fashion is extremely alive and whatever the decade or the century, it is here to stay. For not only it is comfortable, practical and aesthetically beautiful but has changed with time with the result that it has, in the past century, and will in the coming one, remain contemporary,” she sums up.

Source: India Tribune Saturday, Sep 01st

 

Posted in Career, Fashion & Texchnology, Pearl Academy, Women's Wear

CREATIVE FASHION & TECHNOLOGY IN WOMEN’S WEAR

Pearl Academy has been introduced a One Year Professional Programme in ‘ CREATIVE FASHION & TECHNOLOGY IN WOMEN’S WEAR’ provided in it’s three centre Noida, Delhi, Chennai.

    This One Year Professional Programme has been specially designed for disseminating high quality fashion and design education in this booming sector. The programme aims to equip and upgrade students and working professionals with the latest fashion industry concepts….

To know more go through the link :

http://www.pearlacademy.com/cp_CreativeFashion&Technology.php

Source : Pearl Academy