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Time of India
11-07-2025
- Entertainment
- Time of India
Parsi gara: Embroidered elegance rooted in nature
Natasha Poonawalla's MET Gala look featured two vintage gara saris with a sculpted pearl corset-cummerband by Manish Malhotra. An interpretation of the Black Dandyism. The motifs originating in China comprised stories and scenes of nature and everyday life What is Parsi gara? The gara is a single-thread silk hand embroidery, a byproduct of the Parsi community's trade and travels. Traditionally done on silk with a small sewing needle, the embroidery is an amalgamation of various textile traditions, including those from China, Persia, Europe and India. Parsi-fication of the Chinese embroidery 'The Parsi gara is a treasured part of a Parsi woman's life. Its status as a family heirloom continues,' says Prof Shernaz Cama, director of a UNESCO project aimed at preserving Parsi-Zoroastrian culture. 'The embroidered gara as seen today is about 350 years old. In the 1730s, Parsis saw Chinese workers create embroidery on silk. A Parsi trader once requested Chinese artisans to add a border, and later a pallav, to their embroidery, marking the origin of what would become the Parsi gara. The fabric eventually travelled to Surat, where Parsi men and women skilled in Iranian and Indian embroidery techniques began adapting the Chinese style.' Factsheet Historically, twisted silk yarn and silk floss were used for the Parsi gara. Today, mechanically spun yarn is used The gara includes Chinese satin stitch, French knots, stem stitch, cording, kha-kha (forbidden stitch) Depending on the complexity of the design, a gara sari can take anywhere from three weeks to two months to craft, with six to eight artisans working on one gara together Traditionally, high-quality silk fabrics woven in China were used. Eventually, this gave way to the salli gaj, the ghat fabric and jacquards. Today, crepes, satins and organzas are used, too - Inputs from Ashdeen Z Lilaowala and Prof Shernaz Cama Reimagining the gara A refreshing spin with new fabrics and fits is appealing to the current generation. Designer Ashdeen Z Lilaowala, a revivalist of the gara, says, 'While innovating the gara, it's important to keep the essence of the tradition alive. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like So sánh mức trượt giá: Hợp đồng tương lai (CFD) Bitcoin vs Ethereum IC Markets Tìm hiểu thêm Undo It is about enhancing the wearability factor of the gara – stylised application of motifs, the use of lighter, more wearable fabrics, and a colour palette fine-tuned to suit modern tastes. ' 'Stylised application of motifs, a colour palette fine-tuned to suit modern tastes and the use of lighter, more wearable fabric adapted to suit contemporary tastes - it is about enhancing the wearability factor of the gara' (Pics: @ashdeenl) Zenobia Davar, a designer reviving the Parsi gara, adds, 'The idea is to innovate the gara for the newer generation. Crop tops, lehengas, gowns and fishtail skirts with blouses are making the gara more accessible and making the heritage a part of our everyday life. Artisans are giving gara a fresh take by creating accessories, embroidered ties, homeware, frames, room partitions, and more. Many women get their family heirloom garas restored – like a bride recently wore her nani's wedding gara. ' 'The idea is to innovate the gara for the newer generation' (Pics: @zenobia_davar) Efforts have been made to infuse traditional weaves like Kanjeevaram and Banarasi with Parsi gara embroidery and also combine the aesthetic of the gara with traditional crafts like bandhani, leheriya Ashdeen Z Lilaowala, designer Motifs tell stories of culture trade ties & more The motifs originating in China comprised stories and scenes of nature and everyday life. Designer Firoza Shroff says, 'Peacocks, deer, cockerels, ducks, fish were often seen. The Parsis, who were the first to set eyes upon these designs, could relate to many motifs which were considered auspicious in their culture. With time, Indian motifs such as the paisley or kairi were incorporated too.' Zenobia adds, 'Every motif is deeply symbolic – carrying emotional, cultural and even spiritual weight sometimes. ' The gara includes Chinese satin stitch, French knots, stem stitch, cording, kha-kha (Pics: @
Forbes
08-07-2025
- Entertainment
- Forbes
Fashion As Cultural Record: Lessons On Preservation From The Archive
Michele Y. Smith serves as MoPOP's CEO, a mission-focused leader with extensive experience in nonprofit business development. When people think of archives, they often imagine dusty documents or ancient artifacts locked behind glass. But fashion is a form of storytelling. The clothes we wear and those worn by past generations capture moments, reflect cultural shifts and become symbols of identity and resistance. Fashion is one of the core pillars of pop culture, alongside music, film and gaming, yet it is often dismissed as frivolous. In truth, it is one of the most accessible and expressive forms of cultural storytelling. Why Shifting The Narrative Matters For Cultural Institutions For leaders of cultural institutions, shifting this narrative could be critical to your mission and relevance. When you elevate fashion as a legitimate cultural artifact, you can expand your collection and help democratize access to history. Fashion often speaks to audiences who might never step foot in a traditional museum, particularly for those who understand clothing as identity and self-expression. By taking fashion seriously, cultural institutions could attract new visitors, secure diverse funding opportunities and position themselves as forward-thinking stewards of contemporary culture. I think this year's Met Gala theme of Black dandyism is particularly relevant in this context, as it challenges traditional notions of gender and self-expression. In a time when personal identity is increasingly celebrated and explored, dandyism encourages individuals to embrace sartorial statements that defy conventions. This theme compels us to take fashion seriously as a form of artistic expression and a reflection of cultural dynamics. More Than Style This spring, my organization hosted a limited-time exhibit featuring garments from Princess Diana's wardrobe and explored how she used style as a language. Her wardrobe became a form of communication, expressing resilience, vulnerability and independence. Her garments were not just beautiful; they were symbols of her journey, her struggles and her quiet acts of defiance in the face of global scrutiny. Princess Diana's fashion journey has been reinterpreted by new generations, especially Gen-Z, who often see a story of autonomy and self-definition in her wardrobe. Her style has found a second life online, not just because of its aesthetic appeal, but because of what it represented. I think this digital resurgence is a reminder of how fashion can serve as both a personal narrative and a cultural touchstone, and working with her archive reminded me of some important things about preservation. How Cultural Institutions Can Help Preserve Fashion Preserving fashion isn't just about keeping garments safe—it's about preserving stories. Clothing is history woven into fabric. The role of cultural institutions is to ensure that these stories remain accessible, allowing future generations to engage with them in meaningful ways. For cultural institutions looking to deepen their impact, fashion archiving offers a unique opportunity. It allows us to document not only design and style but also the social, political and cultural contexts that shaped them. A garment can be a protest, a symbol of freedom or an expression of cultural pride. Institutions should prioritize: Tell the stories behind each garment. Effective storytelling requires going beyond the surface aesthetics to uncover the human drama behind each piece. Leaders should prioritize thorough research that delves into the origin of the garment, its creator and the time period it represents. Consdier collaborating with fashion historians, cultural anthropologists and community elders who can provide authentic context. Ask provocative questions: What was happening politically when this was worn? Who had access to this style, and who didn't? How did this garment challenge or reinforce social norms? The most compelling fashion stories often reveal power dynamics, economic realities or social movements that shaped entire generations. Leaders should also consider the emotional connections that garments can evoke. Each piece has the potential to represent personal stories, aspirations or milestones in individuals' lives, so it is important to highlight these connections in the narrative. Incorporating multimedia elements, such as video interviews with individuals who wore the garments or interactive displays, can bring stories to life and create a more immersive experience for viewers. Ultimately, I recommend leaders focus on weaving these elements together to craft a compelling story that not only informs but also inspires. Involve the public in the storytelling process. Allow them to share their interpretations and personal connections. Create multiple touchpoints for public participation. This could be a dedicated space where visitors can record stories triggered by garments or social media campaigns encouraging users to post vintage pieces with family histories attached. Position your institution as a facilitator rather than the sole authority by hosting intergenerational fashion shows, partnering with local designers for panel discussions and creating response walls where people can leave notes about their emotional connections to pieces. By actively recognizing and valuing public contribution, institutions can create a richer tapestry of storytelling that reflects diverse perspectives and encourages deeper engagement. Leverage technology to extend the reach of your fashion archives. Virtual exhibits and social media can bring these stories to life. I've noticed that successful virtual fashion exhibits require more than static photography; they need to capture the movement, texture and emotional resonance of clothing. You may want to invest in 360-degree photography and video content that shows garments in motion and consider ways to bring AR and VR into the fold. Can a viewer see how the garment would look on them? Can they be transported into the historical context of the piece? Another option may include building partnerships with fashion schools, whose students can help create compelling digital content in exchange for internship credits, or with tech companies that can provide devices to bring it all to life. However, when utilizing technology, don't let it overshadow storytelling or forget about accessibility. The most successful digital fashion archives I've seen combine high-quality visuals with audio stories from the people who lived in these clothes. Through embracing fashion as a cultural record, museums and cultural institutions can become stewards of stories that matter. They can create connections between generations, spark conversations and ensure that the creative expressions of the past continue to inspire, educate and empower for years to come. Forbes Business Council is the foremost growth and networking organization for business owners and leaders. Do I qualify?
Vogue
18-06-2025
- Entertainment
- Vogue
Sergio Hudson Resort 2026 Collection
The 2025 Met Gala—which focused on the history of Black dandyism and tailoring—took place more than a month ago, but designer Sergio Hudson's entire new resort collection could have easily made an appearance on the star-studded red carpet. It's no coincidence either, given that Hudson was developing this sleek assortment while also working on looks for VIPs at this year's event (including everyone from Quinta Brunson to Stevie Wonder). 'I was designing this in the throes of working on the Met, so it's heavily inspired by that,' said Hudson. The thematic tie-in was an organic one for the designer, given his devotion to suiting and reinventing classic American sportswear. 'Tailoring has always been my thing,' he said. 'I've been putting women in ties for years. My mom did it when I was growing up, it's in my DNA.' Hudson does cut a good suit, and he's dressed many notables over the years, including former first ladies Michelle Obama and Dr. Jill Biden. For resort, he delivered double-breasted tuxedo coats with satiny lapels, and white tuxedo jumpsuits with detachable flower lapels. He also amped up the skirt suit by embellishing it with an intricate crystal pattern, and created slinky sequin column gowns so shimmering you don't need much else to accessorize them with. His most glamorous suggestion was the golden button-up shirt and matching floor-length skirt, created with an intricate technique that utilizes both Swarovski crystals and sequins. It may seem like shine overload, but he said his customers aren't afraid to dazzle and command a room. Having often dabbled in men's looks, Hudson is formally introducing a bespoke menswear line later this month. 'It'll be my first time actually selling it,' he said. Many of the men's looks he showed here were adapted versions of his womenswear looks. Models in his lookbook sport twinning red tuxedo jackets and houndstooth suits. Something your favorite power couple may be wearing very soon.
Yahoo
09-06-2025
- Entertainment
- Yahoo
Most-followed TikTok star Khaby Lame detained by ICE, leaves US voluntarily
TikTok megastar Khaby Lame has left the United States after being detained by federal immigration. 'U.S. Immigration and Customs Enforcement detained Seringe Khabane Lame, 25, a citizen of Italy, June 6, at the Harry Reid International Airport, Las Vegas, Nevada for immigration violations,' an ICE representative told People. Lame, who holds the record as the most followed on TikTok with over 160 million followers on the platform, was asked to leave the U.S. because he 'overstayed the terms of his visa.' The 25-year-old content creator was stopped by ICE at the Harry Reid International Airport in Las Vegas and granted voluntary departure once he was detained. The social media star was born in Senegal and was moved to Italy when he was a baby. He was granted Italian citizenship in August 2022. Lame rose to fame when he started sharing silent comedic videos on TikTok during the pandemic after he was laid off from his job. 'Before TikTok, I was working in a factory. I had a lot of different jobs,' he told People after being named one of their Creators of the Year. 'I was helping support my family — three little brothers, one older brother and my parents. Then my world changed completely. It's a whole different life now.' In May of 2025, Lame was seen at the Met Gala celebrating the theme of Black Dandyism in a grey and cream suit. The detainment comes amid Trump's immigration crackdown. ICE has launched raids all over the country, enforcing the president's mass deportation campaign promise in workplaces, schools, airports and college campuses. As for Lame, he has been active on social media since the detainment and hasn't spoken publicly about what happened. ____________
South China Morning Post
05-06-2025
- Entertainment
- South China Morning Post
Fine and dandy: how luxury houses are embracing a return to refined accoutrements, from British labels Dunhill and Purdey, to Indian fashion designer Sabyasachi Mukherjee
At this year's Met Gala , an unexpected accessory emerged as the evening's quiet stand-out: the walking stick. Alongside jewel-handled umbrellas, watch fobs and even an ornate monocle, these gentlemanly flourishes added a sense of old-world formality to the event's 'Tailored for You' dress code, a tribute to the tradition of Black dandyism. A$AP Rocky at the Met Gala with a custom Briony Raymond silver umbrella, set with 90 carats of diamonds. Photo: AFP Advertisement Met Gala co-chair A$AP Rocky carried a custom silver umbrella by New York jeweller Briony Raymond, set with 90 carats' worth of diamonds and with a handle shaped like a revolver (likely a nod to Rocky's recent acquittal on gun charges, as well as a reference to Umbrella, the 2007 hit by his partner Rihanna ). Bollywood legend Shah Rukh Khan was dressed by Sabyasachi Mukherjee, his look made complete with this Bengal Tiger Head cane. Photo: Invision/AP For Indian fashion designer Sabyasachi Mukherjee , who dressed Bollywood legend Shah Rukh Khan for the evening, the cane wasn't just an accessory – it was central to the look. 'Shah Rukh Khan is such an important star and often wears very simple, tailored clothing. As an icon, you don't want to detract from the public image that already exists,' said Mukherjee. ' Stars like Shah Rukh Khan don't need to be dressed in a costume – they're so big that they just need to be presented as themselves.' Khan's cane, designed for the event, was inspired by the regal traditions of the historic region of the subcontinent called Bengal. 'I also wanted to evoke the image of Bengal's nobility, who carried walking sticks often adorned with bejewelled heads of tigers, elephants and lions,' said Mukherjee. 'Depending on one's status, the heads were cast in silver or gold, and for the wealthiest, entirely encrusted with gemstones.' The Sabyasachi Bengal Tiger Head cane. Photo: Handout Mukherjee's creation was a tour de force of craftsmanship: a Bengal tiger's head cast in 18k gold, its eyes of blue sapphire, its tongue carved from pink tourmaline, and the head adorned with pastel sapphires and old mine-cut diamonds. 'The Sabyasachi Bengal Tiger Head cane is a homage to Calcutta's goldsmithing heritage, with a nod to the colonial influence of British carpentry, creating a look that is global yet rooted in the soul and traditions of India,' he said. For Mukherjee, such meticulous detail signals a broader shift towards classic elegance. 'The internet has made us incredibly lazy,' he notes. 'We are no longer as well put together, as everything is taken too casually. Dressing up is important because it instils a sense of formality and discipline. I think the world could use a reminder of standards and the importance of holding oneself to them. The act of dressing up shows effort, and that's refreshing to see in fashion.'
