pThe only name that appears in the words “Bahujan” and “Designer” and internet search is Sudheer Rajbhar, founder of Chamar Studio. When used as a penalty as a fine, “Chamer” is a registered trademark of Rajvar’s Art Design Fashion Studio.
The designer grew up in Mumbai’s slums, and casteist slurs were thrown at him. When he found his way through drawing a contest to art college at school, discrimination tempted a rebellion to transform the slur into a recognizable brand. Rajbhar launched the project in Dharavi and empowered the leather community there. Chamar Studio is nomadic and is based on slums.
In December 2024, when Rihanna was photographed in Miami, a design in a burnt orange chair designed by Chamar Studios, Rajvar noticed a tag on the popular Instagram handle. I did. His social media has seen a sharp increase. At the same venue, American football player Stefon Diggs was seen sitting in another work by Rajvar, a green-blue piece.
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The designer has gone viral. This is the catapult power of the attention industry. Video and comment profiling was displayed on several platforms. However, they emphasized the caste of Rajvar than his craft.
“Everyone interviewed me to find out how I’m making, what I’m making, what I’m thinking. The 39-year-old designer said: .
Rajbhar’s work is modern, shaped and unassembled. His large, monochromatic chair is made of recycled rubber tires designed to flow like fabric.
The tote bags in striking colors such as black, teal, and ink blue feature a noticeable cross stitch along the edges. They are smooth and refined, and there are no floral or decorative motifs in the hardware or patterning. Some are designed with thick stripes made from basic materials to make statements.
The collection is also named after Blue Collar, Bombay Black, Black Fortune and Mandee Revolt.
“The Chammer community is no longer able to work with animal leather after the beef ban, but we need to respect the skills and familiarity of using leather-like materials, which is a more sustainable option. That’s why some rubber tubes and tires and tires,” says Rajbhar.
Also Read: Can Dalits wear Armani and Zara? Why are most Indians still saying no?
Fashion is alienated
Rihanna is photographed in a chair designed by an Indian Bahujan artist, and is the very pulp of the story of clickbait, with hashtags being more trendy than ingenuity in design. Rajbhar understands that his work is synonymous with his caste identity, even on prominent platforms like the Indian Art Fair.
The designers added the word “Raj” to “Bhar” to destroy stereotypes related to names and caste. Now he has to fight to draw attention to his design skills.
In the charming outing cavalry, often recognized as fashion, designers are friends of movie stars and movie stars are wealthy friends. Highly placed connections allow sponsorships, investments and corporate acquisitions. The “Wearing the Best” list is filled with privileged names that take pride in their gorgeous logos and support each other. It may be difficult to feel that the designers of Bahujan are not ignored.
Regarding a recent article on “Fashion Royalty Bias” for the Voice of Fashion, Rajvar spoke to me about the social marginalization he felt at the awards event in Mumbai last year. He was one of the winners. The fashion industry and its media are easily woeful from those born in “Silver Spoon” and those with “Royal Titles,” the designer said.
Chennai-based blogger, educator and designer Purshuari makes genderless clothing on his eponymous label, but he has the same idea. He doesn’t want to be boxed as a “Dalit” designer.
“Discrimination is systematic, structural and personal,” Ally said. “In fashion, many SC, ST, OBC textiles and craft traditions are erased or approved by the dominant caste.”
A graduate of New Delhi’s National Institute of Fashion Technology (NIFT), Allie writes about the discrimination faced by fashion students who do not speak English or have access to “classy fashion.” He says Indian fashion is not inspired by democratic or street style. They are laughed out loud as “chapuri”, “behenji”, or “pullingo”. Fashion has instead leaned towards “nawabi”, “royal”, and “maharani” references.
Does Rajbhar rise bring about change? That’s certainly what Ruchika Sachdev, founder and creative director of fashion label Bodice. “Everyone needs clear storytelling. If mine is about feminist imagination, then Rajvar branding is caste. It’s a saturated market. We’re captivating stories to bring out our work. “We need it,” she said.
Read again: “If Instagram was there in the 80s, my poet friend would still be alive,” says Jeet Thayil.
Branding vs Craft
Strangely enough, beyond what Rajbhar might have imagined, the brands associated with Chamar Studio compete with his craft, which has a distinctive design voice.
Kanupriya Tandon, brand manager at Raw Mango, said he would challenge caste-based discrimination, an institution like Mumbai’s Equou Gallery, which supports Rajbhar’s work.
“The very choice helps artists transcend discriminatory challenges by placing them on a pedestal, against craftsmen and craftsmen who struggle to reach that point,” Tandon said. I did.
There are other debates. Anita Donre, a veteran designer who advocates conservation and community building in decades of work, believes caste is not an interest to consumers.
“Rajbhar is very newsworthy after being seen on chairs made by Rihanna and making great products,” Donre said. “It’s amazing to see him as a story about recycling. As he continues to create what he does, the customers buy it. For them, it’s about the product What does it mean if he is a Dalit?
This year marks the 25th anniversary of Fashion Week in India. Over the years, seasonal events have become a “comprehensive” platform. Business may have trembled, but showmanship wasn’t. They have now rewarded initiatives such as the Circular Design Challenge and valuable connections to a variety of crafts and textiles. It was awakened, sometimes tokenism, but found a foothold. Buzzwords such as genderfluid, diversity, plus size, environmental responsiveness, and carbon neutrality have grown. However, the Dalit and OBC background designers never saw a view from discussion or design. Domestic panels discuss caste in their design ecosystem.
This may be the year of the year to inequality in the Indian fashion caste. Chamar Studio was able to chair the discussion.
The author is the author of Powder Room. It is an untold story of Indian fashion and cultural commentators. She was a guest of Sabiya Sachi at the 25th Anniversary Show. The view is personal.
(edited by Prasanna Bachchhav)
