“In a crowded fashion world where brands compete for space in an attention economy, cords cut through a lot of distractions,” says anthropologist, author of Inspired by India: How India Transformed Global Design. Phyllida Jay says. Over the past few decades, we have become very wary of house codes due to the corporatization of luxury fashion, the influence of designer “musical chairs” from famous fashion brands. and the range of products offered by the brand. ”
The Indian fashion industry is young compared to other parts of the world, and the focus on turning design codes into brand language is relatively new. But this year, some Indian designers like Tarun Tahiliani and Payal Singhal are making a strong case for publicly broadcasting their house codes through runway shows, accessories, diffusion lines, Instagram reels, and more. Showed.
“Retail expansion, major investments and market growth have seen significant changes in the way India’s top designer brands operate,” says Jay.
The designer, who started his career in the late 1980s, has now consolidated almost 40 years of work. “Some companies are being proactive, and even more so in the last 10 to 15 years as we have seen them transform their codes into a brand vision. “It’s an outstanding example of a couturier expanding into clothing, interior design, and thinking about the transmission and continuation of house codes through formal archives and book publishing,” she explains.
What’s interesting, Jay added, is that young designers like Lovebirds are showing strong strategic thinking about their code and how to translate it into a brand language.
This is a sign that India’s talent is confident enough to branch out beyond bridal wear and expand beyond clothing.
As 2024 draws to a close, we looked at four design houses to understand what it takes to establish a house code and how it helps brands stay relevant. Track your progress.
Tarun Tahiliani: Fluid Structures
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Beige, architectural drapes, tone-on-tone chikankari, a certain fluidity, jewel-like T-shirts – these are some of Tarun Tahiliani’s signature design codes.
One of India’s fashion architects, Tahiliani has been archiving and establishing his house codes for over three decades. He took the time to establish his own house codes, from draped styles to jeweled shirts.
“When we started, you know, we were dependent on the masterji (artisans). After 3-4 years, I decided to learn with my own hands. It takes years to create your own thumbprint. And outsiders (fashion journalists, critics, consumers) do it. You start to understand and see and say it’s something that happens over and over again. And we feed off each other. It’s always a give and take, but you have to reach a certain level of your own expertise to express or enhance it.” says Tahiliani.
Currently, he is working on launching a pre-travel label “OTT”. “OTT is another attempt to go back to our norms, to embrace India and modernize it. That is also the philosophy of the brand,” says Tahiliani.
When a brand, like Tahiliani, expands in multiple directions, a design code becomes an anchor to stay focused. “And they also help you get better,” Tahiliani adds.
“The more you do something, the more control and power you have. Code is a key pillar, and even more so now that AI is trying to take your fingerprints,” he said. I say.
In some cases, people involved in the business asked Mr. Tahiliani to change the content to suit customer requests.
“We’ll have a fashion week, and about 20 merchandisers from different stores will come there and later ask, ‘Can you make bright colors?’ If we were to listen to it like we used to, we would have missed the point. And that would be a departure from company regulations. But the important thing is that once you do it successfully, you have more confidence. ”
Payal Singhal: Bohemian Vibes
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This year marks 25 years since Payal Singhal started her brand of easy-to-wear, bohemian-inspired occasion wear, full of tassels, bright colors, and intricate embroidery. She is clear about her brand identity. It’s a fusion festive piece that’s fun, timeless, and elegant enough to become an heirloom.
Her journey began in 1992, when she won the Shoppers Stop Designer of the Year award at the age of 15. This recognition led her to pursue fashion design, studying at SNDT Women’s College in Mumbai and then at the Fashion Institute of Technology and Parsons School of Design in New York. “Back in 1999, I wanted to start a label for young women who wanted to wear traditional clothing in a modern way that resonated with a global lifestyle,” says Singhal. I say.
Her first bridal collection was unveiled during SNDT’s graduation show and featured all-black pieces. “My aim was to break down the barriers surrounding festive attire in this country,” she recalls. “While our techniques and crafts have evolved over time, our design language has remained the same. House codes are brand landmarks. Without an identifiable landmark, you are not really It’s not a brand or a design company. That’s what makes people invest in your brand.”
Whether it was her debut collection at Lakme Fashion Week in 2007 or her 25th anniversary line, Tajib, Singhal’s designs have consistently drawn inspiration from Indian craftsmanship such as mukaish, nakshi, and eclectic gypsies. I am merging the aesthetics I have acquired. Another standout moment was when her best friend Shibani Dandekar married Farhan Akhtar in 2022. As a mehendi, Dandekar paired it with a multi-colored choli and 70s-inspired sharara pants, highlighting the festive theme of ‘Mexican fiesta meets mehendi mela’.
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“We’re not making bricks for the bride’s pheras; we’re making clothes for her mehendi, sangeet, and guests. It’s a unique space and we’re there I have been particular about it.”
One of the first Indian designers to embrace the kaftan silhouette for wedding attire, Singhal is all about staying ahead of the curve rather than following trends. She has partnered with over 20 brands on everything from beauty, footwear, and even cell phone chargers.
“Evolution is important. My advice to designers today is to have your own perspective and work with your blinkers on,” she says.
Dhruv Kapoor: Color Theory
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Dhoti-inspired sweatpants will be among the pieces Dhruv Kapoor will unveil at Milan Fashion Week next month. “When we launched the brand 10 years ago, the idea was to bring traditional crafts and silhouettes to the world and translate them so that more people can wear them. It became one of the house codes. When I started, I was modifying the code, but after a few seasons, you start seeing it.”
Kapoor has established a global reputation as an Indian streetwear brand that favors a stronger take on womenswear and a softer take on menswear. For example, they make the shoulders of blouses pointier or add removable embroidered pockets. Bright colors and clashing prints are also part of Dhruv Kapoor’s design code.
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His other cord is sewn into the fabric on the back of the garment, aligned with the wearer’s chakra. For example, if a shirt has a blue swatch around its neck, it helps the person “communicate better.”
“I’m into Vedic science, color theory,” says Kapur, who worked for Italian brand Etro for about a year in 2013. He believes that design codes are not restrictive, but continue to evolve. For example, Mr. Kapoor started his journey as follows. Black, gray, and neutral, but now he’s added pink and red, making the play of bright colors an integral part of his style.
“It’s important not to be influenced by public opinion. When I started, I was told to do bridal, but that’s not who I am. I want to make oversized jackets using discarded Sabyasachi bricks, but bridal I wouldn’t do that. It’s not my house code.”
Anita Dongre: Heritage First
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Over the past 30 years, Anita Dongre has grown from a label to a fashion house whose clothing includes garments with traditional gota embellishments and takes inspiration from nature, the Mughal era, and the architecture of Rajasthan. Contains colors and motifs.
“My design philosophy has always leant toward the contemporary,” says Dongre. Dongre is behind the labels AND, Global Desi, Grassroot by Anita Dongre and the eponymous Anita Dongre.
“Nature is a core inspiration for the brand. We use wildlife motifs in our designs, always depicting animals as they should, living freely in nature,” she said. I say.
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Mr. Dongre believes that remaining authentic is the key to maintaining the house code. Dongre has three words in mind while designing: ‘Conscious’, ‘Classic’ and ‘Craft’. “House codes are the essence of who you are and what you stand for. They are also the foundation for building a community of like-minded people.”
Dongre believes that fashion can address not only social and cultural issues, but also environmental issues. In 2015, for example, she launched Grassroot, a label that puts sustainability at its core. This year, she collaborated with Mattel to create a Diwali Barbie doll in a project that “celebrates the power of expression.”
“For crafts to thrive, we need to weave them into modern, wearable silhouettes that connect with today’s youth. The key is to make traditions relevant and desirable,” she says. says.
Dongre, who has a flagship store in New York and two stores in Dubai, cites Stella McCartney as an inspiration for a designer who has mastered the art of marrying house codes and environmental consciousness.
She acknowledges the need to evolve and learn from mistakes. “When we started our business, our logo featured an elephant and a Rajasthani arch, paying homage to my love for animals and Rajasthan. Over time, this… I realized that the design was being misinterpreted as a domestic elephant used in weddings. I am against the use of animals in captivity, so I changed the logo,” said Dongre. I say.
Sujata Asomulu is a journalist, author, and mindful fashion advocate.
