DOCSLIB.ORG

Bollywood and Fashion Trends in India: a Longitudinal Study Jashandeep Singh, Kanupriya Gupta M.M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bollywood and Fashion Trends in India: a Longitudinal Study Jashandeep Singh, Kanupriya Gupta M.M International Journal of scientific research and management (IJSRM) ||Volume||2||Issue||1||Pages|| 491-495 ||2014|| Website: www.ijsrm.in ISSN (e): 2321-3418 Bollywood and Fashion Trends in India: A Longitudinal Study Jashandeep Singh, Kanupriya Gupta M.M. Modi College, Patiala. [email protected] [email protected] Abstract India has very rich and varied textile heritage. The languages and dialects, foods and culture change every 80-100 kilometers. Each region of India is having a very unique traditional costumes and accessories. Therefore, every region has a different view of fashion which makes its fashion as diverse as the culture and traditions of the country. The fashion in India is not only confined within the limits of the country but a perfect touch of western culture can also be witnessed in the developed and some underdeveloped cities of the country; and all this has been done by Indian Film Industry-“Bollywood” only. This purpose of this paper is to throw some light over the impact of Bollywood on fashion in India. Keywords: Fashion, Bollywood, Fashion and of post-independence. This was period of revival, Bollywood. where various organizations were involved in reviving traditional Indian techniques, in weaving, 1. INRTODUCTION printing, dyeing or embroidery, including ikat, India is a country having an ancient clothing patola (double-ikat), bandhani (tie & dye) and design tradition, yet an emerging fashion industry. shisha (mirror embroidery).[7] Before 1980s, a handful of designers existed but the late 80s and the 1990s witnessed growth. This An early trendsetter in fashion was Bollywood (Hindi cinema), where costume designers like was the result of increasing exposure to global fashion and the economic boom after the BhanuAthaiya, started experimenting with film economic liberalization of the Indian fashion in the 1960s. He started working on period economy.Post-independence focuses on revival of costumes in Sahib BibiAurGhulam (1962) and traditional textile and design lead to the rise of Amrapali (1966), then introduced varied trends "ethnic-chic"[7].History of clothing in India, dates through TeesriManzil (1966), ChalteChalte (1976), Karz (1980) and Chandni (1989). Sooner, back of ancient times, yet fashion in a new industry, as it was the traditional Indian clothing these trends were followed by the mass markets. with regional variations, be it sari, ghagra-choli or Also situations and themes in Indian cinema dhoti, which remained popular till early decades became westernised making way for the display of Jashandeep Singh, IJSRM volume 2 issue 1 Jan 2014[www.ijsrm.in] Page 491 diverse fashion. Over the years, popular Madhubala, played the character of Anarkali in Bollywood trends have been the ‘Mughal -E- Azam’, donned the suits. It is from Madhubala'sAnarkali-look with kurtas and there, this apparel got its name ‘Anarkali’. churidars in Mughal-e-Azam (1960), purple 2.2 Sadhna Cut embroidered sari worn by Madhuri Dixit in Hum AapkeHainKoun...!(1994), to Rani Mukherjee's Almost every young girl did chop her tresses to short kurti-suits in BuntyAurBabli (2005), Veer- imitate the famous ‘Sadhana cut’, which came Zaara suits and VidyaBalan’sblouses from into limelight after actress Sadhana donned the Parineeta. This comes besides various fashion fringes in her 1960`s romantic debut ‘Love in interpretation of the sari in films like Chandni Simla’. Sadhana had become a style icon for girls (1989) with Sridevi, Main HoonNaa (2004) with overnight owing to the hairstyle which became a SushmitaSen and Dostana (2008) with Priyanka big hit.In 1965, stylish actress Sadhana was once Chopra, which became fashion trends. again successful in setting a trend, and this time it was her body-hugging sleeveless churidarkurtas in 2. OBSERVATIONS Yash Chopra’s ‘Waqt’, which caught the attention The Hindi film industry has always been a source of young female fans in India. These ‘churidaars’ of inspiration when it comes to fashion. With was also styled by other actresses- Vyjanthimala, almost every Bollywood movie, there came a style Asha Parekh and Sadhana in movies like ‘Jewel that was blindly followed by the star-struck fans. Thief’ and ‘Love in Tokyo’. It became a huge hit Even most of those trends have vanished with among both thin and curvy women. time, some are still remembered for their 2.3 MumtazSaree popularity.From Madhubala’sanarkali suit in ‘Mughal -E- Azam’ to KareenaKapoor’s T-shirt The orange colorsaree worn by Mumtaz- in with Patialasalwar in ‘Jab We Met’, each of these ‘Aajkaltere mere pyarkecharcheharzubaan par’ style trends given birth to by Bollywood movies, song in the 1968 film ‘Brahmachari’ -became an have become instant hits among people.A few instant hit. The saree, draped in not so usual trends from Bollywood which really became manner, became a new and stylish way. The style popular and still remembered are: is still known by all as ‘Mumtazsaree’. 2.1 ‘Anarkali’ Suits 2.4 ‘Retro-style’ Bell-bottoms Anarkali suits are still favoured by many females, Bollywood actresses like ZeenatAman, irrespective of their ages; and the list includes top ParveenBabi, HemaMalini and Neetu Singh were Bollywood actresses like AishwaryaRai, Katrina often sizzled on the silver screen wearing bell- Kaif, Rani Mukherjee and so on. The birth of this bottoms paired with over-sized glasses, in 1970s. trend took place in 1960, when the beautiful This retro-look was alsoseen in movies like ‘Hare Jashandeep Singh, IJSRM volume 2 issue 1 Jan 2014[www.ijsrm.in] Page 492 Rama Hare Krishna’, ‘Trishul’, ‘MahaChor’, The young Indian female audience not only liked ‘Yaadon Ki Baraat´, etc. motivated young girls in the chirpy and livelyKareenaKapoor in the movie India to dress up in this style. ‘Jab We Met’, but even madly followed her innovative indo-western lookin the movie. The 2.5 ‘Bobby’ Print ‘Patialasalwaralongwith long T-shirt’ became so popular that it soon became a must have for young Dimple Kapadia in tender age of 17, had become girls, given the fact that it is comfortable, new and a fashion icon in 1973, all due to her ‘knotted stylish as well. polka-dotted shirt and hot black mini’, which she wore in the movie ‘Bobby’. Till date, the polka- 3. TRENDSETTERS OF BOLLYWOOD dot print is famously known as ‘Bobby print’ in THESE DAYS India. 3.1 SonamKapoor is one of the best dressed 2.6 Chiffon sarees Bollywood celeb with a good sense of style. She takes up both western and Indian outfits exhibiting Sridevi, in a chiffon blue saree in ‘Mr.India’, had her confident and graceful looks. This tall and fair increased the level of hotness and changed the actress never sighs on experimenting with her stereotypical image that was usually associated to looks and clothes. She is graceful in whatever she a woman in a saree. A simple chiffon saree could wears. set the temperature soaring – that’s what her look proved. Apart from ‘Kaatenahinkatte’, this 3.2 KareenaKapoor has zero figure frame, great Southern siren donned a red one for the song smile, perfect body and glowing skin due to which ‘Harkissiko’ from the movie ‘Jaanbaz’ and she looks prominent in whatever she wears. She recently, Priyanka Chopra wore a silver grey always tries something new which is quite Chiffon saree in movie ‘Dostana’, where she acted refreshing. She looks great in gowns, minis, on a song and get famous by a name “Desi Girl”. candy-colored dresses, and last not the least saris. 2.7 ‘Hum AapkeHaiKaun’ outfit 3.3 Priyanka Chopra the Haryana girlwith her perfect pair of legs,prefers short dresses, high The heavily embroidered eye-catching purple heels to strut her long slender legs. She looks saree worn by Madhuri Dixit in gorgeous in whatever she dons on, be it saree or ‘Diditeradewardiwana’ in the movie ‘Hum her favorite short black dresses. Priyanka Chopra- AapkeHaiKaun’ was on high demand in the the versatile ‘desi girl’ has become the face for an market at that time. The backless blouse added to International brand “GUESS?” now. the ‘oomph factor’ and the design was given a ‘thumbs up’ by the women in India. 3.4 DeepikaPadukone dresses reflects her body and attitude. The very confident actress looks 2.8 Patiala-ShahiSalwar with long T-shirt great in her dresses primarily due to her tall Jashandeep Singh, IJSRM volume 2 issue 1 Jan 2014[www.ijsrm.in] Page 493 stature and confidence. She loves herself to be got his clothes designed by him. His brilliant draped in simple yet wonderful sarees, swaggering creations have won him several awards her slim waist and great figure. 4.2Neeta Lullais also a well-known fashion 3.5 Anushka Sharma dresses reflects her young designer of Bollywood. Neeta has also received and youthful side along with her lovely face and acclaim both in India and overseas. She designs flawless skin. She looks great in casual dresses. for all leading actresses. Her fashion designing She has tried almost every style in her movies, but was appreciated in the movies like ‘Jodha Akbar’ she herself prefers Indian outfits and looks great and ‘Devdas’. on them. 4.3SurileyGoel began her career with Bollywood 4. TOP FIVE FASHION DESIGNERS OF when she styled clothes for PreityZinta for BOLLYWOOD ‘Salaam Namaste’ (2005). After that she designed for ‘The Last Lear’ (2008) and Har Pal (2011). When Indian Film Industry made films in the previous years, the actorsses then wore simple 4.4 Sabyasachi Mukherjeestyles differ from outfits, casual enough for them to identifythe those of the other fashion designers in the masses. Today, Bollywood is the fashion trend- industry. He prefers odd, irregular cuts and setter of India. Some years back, fashion lengths of clothes. He designed for stars in the designing as a profession was unheard of but now movies Black, Paa, Ghuzarish and Ravan.
Load more

Recommended publications
  • American Culture: Fashion and Sustainability
    AMERICAN CULTURE: FASHION AND SUSTAINABILITY A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for Departmental Honors by Kelsey Merritt May, 2018 Thesis written by Kelsey Merritt Approved by _____________________________________________________________________, Advisor _____________________________________________________________________, Co Advisor ______________________________________________, Director of Fashion Accepted by ___________________________________________________, Dean, Honors College ii TABLE OF CONTENTS LIST OF FIGURES…..……………………………………………...……………………iv LIST OF TABLES………..………………………………………………………………vi ACKNOWLEDGMENT………………………………………….……………………..vii CHAPTERS I. INTRODUCTION……………………………………………….………..1 Delimintations……………………………………………………………..4 II. LITERATURE REVIEW………………………………………….………6 III. DATA COLLECTION METHODS……………………………………..12 IV. FINDINGS AND DISCOVERINGS…………………………………….42 V. RECOMMENDATIONS………………………………………………...48 REFERENCES……………………………………………………………………...…...54 APPENDIX 1. Appendix A………………………………………………………………58 2. Appendix B………………………………………………………………60 3. Appendix C………………………………………………………………63 4. Appendix D………………………………………………………………66 iii LIST OF FIGURES Figure 1: Inside Stoll knit factory………………………………………………………..15 Figure 2: Stoll’s knit factory entrance…………………………………………………...16 Figure 3: Sample garments created………………………………………………………16 Figure 4: Ka de We shoe floor…………………………………………………………...18 Figure 5: Rug maker……………………………………………………………………..20 Figure 6: Testing rug making myself…………………………………………………….20
    [Show full text]
  • Depictions of Empowerment? How Indian Women Are Represented in Vogue India and India Today Woman a PROJECT SUBMITTED to the FACU
    Depictions of Empowerment? How Indian Women Are Represented in Vogue India and India Today Woman A PROJECT SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Monica Singh IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF LIBERAL STUDIES August 2016 © Monica Singh, 2016 Contents ILLUSTRATIONS........................................................................................................................ ii INTRODUCTION......................................................................................................................... 1 CHAPTER 1 .................................................................................................................................. 5 CHAPTER 2 ................................................................................................................................ 19 CHAPTER 3 ................................................................................................................................ 28 CHAPTER 4 ................................................................................................................................ 36 CHAPTER 5 ................................................................................................................................ 53 CHAPTER 6 ................................................................................................................................ 60 REFLECTION FOR ACTION.................................................................................................
    [Show full text]
  • Prospectus-2021.Pdf
    2021 ADMISSIONSAdmissions for Artisans/Children of Artisans Message from Chairman The National Institute of Fashion Technology welcomes you partake in a shared vision for the future. Our students are equipped with the latest information in innovation and technology in the entire value chain of design and fashion. They are encouraged to respect the rich Indian Heritage, and derive the best from our way of life, and our own traditional arts and handicrafts. We take incredible pride in instilling ethical values in our students that have gone on to make a mark, and have positively influenced the industries we serve and our society in general. NIFT has continuously strived to adopt the global standards in fashion education by aligning its teaching methods to interactive and evolving education systems, aimed at creating a unique learning experience that blends heritage, cultivates aesthetic virtuosity in an environment of freedom of inquiry and cognition. The revamped curriculum focuses on multidisciplinary learning, to the students to solve real life challenges but also facilitate them to carve out new and unique paths for themselves. application - in addition to celebrating diversity and fostering inclusivity, sensitising students to cultural and social contexts, which is vital in personality building and develops individuals as change agents in the society. The alumni of NIFT are recognised as adept professionals in a myriad of creative fields, and their success stories are a source of pride for the institute. Industry- Academia interfaces throughout the course provide a cutting-edge learning experience to our students. The Industry oriented learning environment through internships and Graduation projects allows for real time learning for the students.
    [Show full text]
  • Fashion Text Book
    Fashion STUDIES Text Book CLASS-XII CENTRAL BOARD OF SECONDARY EDUCATION Preet Vihar, Delhi - 110301 FashionStudies Textbook CLASS XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110 301 India Text Book on Fashion Studies Class–XII Price: ` First Edition 2014, CBSE, India Copies: "This book or part thereof may not be reproduced by any person or agency in any manner." Published By : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 Design, Layout : Multi Graphics, 8A/101, W.E.A. Karol Bagh, New Delhi-110005 Phone: 011-25783846 Printed By : Hkkjr dk lafo/ku mísf'kdk ge] Hkkjr ds yksx] Hkkjr dks ,d lEiw.kZ 1¹izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kkRed x.kjkT;º cukus ds fy,] rFkk mlds leLr ukxfjdksa dks% lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /eZ vkSj mikluk dh Lora=krk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj 2¹jk"Vª dh ,drk vkSj v[kaMrkº lqfuf'pr djus okyh ca/qrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/ku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~ }kjk bl lafo/ku dks vaxhÑr] vf/fu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/ku (c;kyhloka la'kks/u) vf/fu;e] 1976 dh /kjk 2 }kjk (3-1-1977) ls ¶izHkqRo&laiUu yksdra=kkRed x.kjkT;¸ ds LFkku ij izfrLFkkfirA 2- lafo/ku (c;kyhloka la'kks/u) vf/fu;e] 1976 dh /kjk 2 }kjk (3-1-1977) ls ¶jk"Vª dh ,drk¸ ds LFkku ij izfrLFkkfirA Hkkx 4 d ewy dÙkZO; 51 d- ewy dÙkZO; & Hkkjr ds izR;sd ukxfjd dk ;g dÙkZO; gksxk fd og & (d) lafo/ku
    [Show full text]
  • Anupama Prasad
    Journal of Studies in History& Culture JSHC / Paper / F-W 2016 Clothing and Fashion: Presenting the Indian Female Body in Early 20th Century by Anupama Prasad Abstract Exploring the clothing practices of Indian women in the first half of the twentieth century, this article analyses the sartorial transformation and gradual introduction of fashion in the context of Indian dressing largely through the fashion columns which appeared in the newspapers and magazines. The article maps how the discourse on clothing in India was framed within the language of nationalism but gradually more individualized notions such as taste, individuality, personality came to be associated with clothing. It shows that Indian women experimented with their clothing as much as men by incorporating styles from the west as well as reforming Indian styles to dress themselves. However, the modernity embedded within the new dressing style and life style of the elite and middle class Indian women was affected by themes such as tradition and modesty. Keywords Clothing, Fashion, Sartorial Reform, Dressing JSHC | Issue 2 | Vol. 2 | Fall Winter 2016 Journal of Studies in History& Culture Introduction Most studies on the history of fashion suggest that it hardly existed in earlier times, and this has led to a debate about its origin and development. Gilles Lipovetsky points out that fashion (as we understand it today) emerged in the west in the latter half of the nineteenth century.1 On the other hand, Elizabeth Wilson traces the emergence of fashion to the fourteenth century which marked the proliferation of more elaborate styles of men and women’s clothing.2 In order to trace a longer history of fashion and dress in the colonial India, I focus on crucial tipping points in women’s clothing from about the nineteenth century.
    [Show full text]
  • Brand Analyses of Global Brands Versus Local Brand in Indian Apparel Consumer Market
    University of Kentucky UKnowledge Theses and Dissertations--Retailing and Tourism Management Retailing and Tourism Management 2014 Brand Analyses of Global Brands Versus Local Brand in Indian Apparel Consumer Market Aniket Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aniket, "Brand Analyses of Global Brands Versus Local Brand in Indian Apparel Consumer Market" (2014). Theses and Dissertations--Retailing and Tourism Management. 6. https://uknowledge.uky.edu/mat_etds/6 This Master's Thesis is brought to you for free and open access by the Retailing and Tourism Management at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Retailing and Tourism Management by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Fashion Experience of the Urban Indian Consumers
    International Journal of Advanced Scientific Research and Management, Volume 3 Issue 12, Dec 2018 www.ijasrm.com ISSN 2455-6378 Fashion Experience of the Urban Indian Consumers Usha Narasimhan Department of Sociology, Jamia Milia Islamia, New Delhi, India Abstract sociological perspective, it offers an insight into the This paper is from a larger research undertaken to way values are fashioned within popular culture, in study the fashion phenomenon in urban India and particular the methods by which identity gets elaborates the fashion experience in urban India constructed. The main study is an attempt at where the fashion consumers use fashion practices to understanding fashion as a form of cultural negotiate meanings and create identity. Through my production taking into account how it gets produced study of fashion practices of the young urban Indian and consumed and is then further reproduced by the consumer, I look at how she appropriates fashion for fashion consumers. The research also studies the her own use. My research explores fashion through ways by which the consumption of fashion fashion everyday practices of my respondents as influences lifestyle and identity in urban India. against fashion as a form of performance seen on catwalks or an activity of the elites. The research This part of the study being presented here looks at documents fashion and clothing as a lived reality for fashion as a lived experience of the urban consumer, these fashion consumers. The research uses empirical making fashion an embodied experience. In the next data that I have collected using in-depth interviews section I provide a contextual review for the research from respondents in Delhi.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Making Designs on Fashion: Producing Contemporary Indian Aesthetics Permalink https://escholarship.org/uc/item/5jr2g7qj Author Varma, Meher Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Making Designs on Fashion: Producing Contemporary Indian Aesthetics A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Anthropology by Meher Varma 2015 ABSTRACT OF THE DISSERTATION Making Designs on Fashion: Producing Contemporary Indian Aesthetics by Meher Varma Doctor of Philosophy in Anthropology University of California, Los Angeles, 2015 Professor Sherry B. Ortner, Chair This dissertation is about the making of the Indian fashion designer and highlights how the birth of the industry has fashioned new subjects and subjectivities. It traces constitutive shifts and tensions in the fashion industry over the last three decades, including the rise of bridal wear or couture, the appropriation of craft and resistances to it, and the return of ready-to-wear production via e-commerce. I argue that the professional identity of the fashion designer was crafted in opposition to the low-skilled darzi (tailor) and distinct from the ‘traditional’ craftsman with low cultural capital. However, while the designer’s identity was originally celebrated as modern, creative, and entrepreneurial, paradoxically, the most successful designers are those who appropriate and prioritize craft above his or her own skill. To make this argument, this dissertation engages with, and contributes to, scholarship on class and caste in India, anthropological literature on fashion and other creative industries, as well as work on kinship and family.
    [Show full text]
  • An Investigation on Consumer Behavior and Preferences Towards Apparel, Purchase by Indian Consumers Age 15 – 25
    An investigation on consumer behavior and preferences towards apparel, purchase by Indian consumers age 15 – 25 Submitted by Karthikeyan Sundarraj S105650 MASTER OF SCIENCE Branch: Applied Textile Management Swedish School of Textiles, Högskolan i Borås, S-501 90 Borås Revised 6 August 2011 The Swedish School of Textiles Högskolan i Borås, S-501 90 Borås An investigation on consumer behavior and preferences towards apparel, purchase by Indian consumers age 15 – 25 Bonafide record of work done by Karthikeyan Sundarraj S105650 Dissertation submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Branch: Applied Textile Management of Swedish school of textiles, University of Borås, Sweden August 2011 Mr. David Goldsmith, Faculty guide Prof. Håkan Torstensson Programme Co-ordinator Certified that the candidate was examined in the viva-voce examination held on May 25th 2011 Jonas Larson Daniel Ekwall, Heikki Mattila, Examiners Consumer behavior ii 6 August 2011 Table of Contents Executive Summary ...................................................................................................... 1 1.0 Indian Retail Market ................................................................................................ 2 1.1 Organised Retailing ................................................................................................ 3 1.2 Indian Scenario on Apparel Retailing ..................................................................... 3 1.3 Apparel Fashion ....................................................................................................
    [Show full text]
  • Study on Denim As a Fashion Inspiration in Bollywood
    © 2018 JETIR June 2018, Volume 5, Issue 6 www.jetir.org (ISSN-2349-5162) STUDY ON DENIM AS A FASHION INSPIRATION IN BOLLYWOOD 1Rubina Mittal, 2Bharat Jain, 3Dr. Dolly Mogra 1Research Scholar ,Pacific university, Udaipur 2Research Scholar ,Pacific university, Udaipur 3Asst.Prof.,(incharge), Department of Readymade Garments, University College Of Social Sciences And Humanities, Mohanlal Sukhadia University, Udaipur,Rajasthan ABSTRACT-Fashion is ever evolving and that is the most beautiful aspect of it. Fashion fills the colour otherwise life is black and white. Bollywood has a similar effect and it goes hand-in hand with fashion. In India, Bollywood is the trendsetter in fashion even more than the runways or bridal shows. From 1970’s to the present decade, fashion has evolved tremendously in the Indian film industry. Bollywood and fashion always had a vital relation, They have always influenced each other. In India, fashion often takes its cues from cinema. Indian Bollywood fashion in the 1970s underwent many changes in dressing, both for men and women, colors, styles, hairdos – everything evolved. Several popular Hindi films from the 1970’s used denim as more or less prominent appearance were typically signifiers of characters exploring new forms of identity. It is perhaps not entirely coincidental that denim came into Bollywood film just as the major tropes and themes of mainstream film shifted towards a focus on subaltern subjects and the pursuit of justice, and away from romance. The consumerism in the 1980s and 1990s opened Indians to the idea of wearing readymade denims, as it survived 2k & till present day denimization took over people’s wardrobe irrespective of gender & age.
    [Show full text]
  • 2019-20 (PDF Version)
    UNFOLDING THE WINGS OF CHANGE S U S T A I N A B I L I T Y R E P O R T 2 0 1 9 - 2 0 After successfully achieving most of the targets of our first roadmap, instilling a robust sustainability culture in our people and embedding sustainable practices across our processes, we are now focussing on amplifying product-led sustainability. The strategic progression stems from the fact that our products are our biggest ambassadors and the single largest touchpoint which also has the longest engagement duration. Our product-focus sustainability strategy aims to DRIVE SUSTAINABILITY BEYOND OUR OPERATIONS Like a butterfly's journey from a caterpillar to a winged beauty, through three key pillars our sustainability journey too is metamorphosing to address a new post-pandemic world, widen our horizons to positively impact more PRODUCT DESIGN & DEVELOPMENT, activities beyond our factory gates and CUSTOMER CENTRICITY AND SUPPLY CHAIN. The overarching goal is to leverage our scale as India's largest pure-play fashion and lifestyle powerhouse and demonstrate how the sustainability paradigm can be shifted from niche to mainstream and in the process contribute to global goals like SDG and further the TRANSITION national sustainability agenda through active participation in FROM PROCESS-LED TO PRODUCT-LED. programs like SU.RE. The ambition is to constantly benchmark ourselves against the best and create a rightful place for us in the league of global sustainability leaders. ABFRL SUSTAINABILITY REPORT 19/20 2.0 IN THE REPORT EXECUTIVE 01 MESSAGES RESTORING
    [Show full text]
  • Bof PDF May 2019.Indd
    5 Issue No. May 2019 | Volume XX // No. 5 // Ӫ 100 www.imagesfashion.com Innerwear Special Cover BoF_May19.indd 1 5/16/2019 3:55:04 PM FASHION FOREWARD www.imagesfashion.com Dear all, Remember the harrowing experience of amongst the most lucrative segments in apparel innerwear shopping in India till just a few fashion for brands, retailers and investors alike. years ago? Especially for women folk. For The market today is pegged at `32,000 crore, them, it shopping for intimate apparel was growing at a CAGR of 11 percent and accounts an absolutely fl eet-footed aff air – they either for ~9 percent of the total domestic fashion retail hustled through the few insipid options laid market. out or had to be content with whatever the salesperson compelled them to buy. Choices The rapid transformation of the category has were a distant second in a scenario when led it to branch out into several sub-categories, even getting the size right whilst evading with each of them setting standards on their ubiquitous stares was beyond the bounds of own now. Also, a slew of international, young possibility. and dynamic national brands have impinged on the arena, ushering in a phenomenal trend that But, fortunately, times are changing and has compelled the entire industry to spruce up how! All that remains of these past shopping off erings both in terms of products as well as experiences are anachronistic anecdotes. experiences. Time it did take but innerwear, fi nally, is out of the closet and is taking giant strides to This had led to an increased popularity and becoming an exclusive fashion category in demand of innerwear as a whole and has result India.
    [Show full text]