At the launch of Parsi designer Ashdeen Z Lilaowala’s flagship studio in Delhi this month, guests took home an interesting slice of Parsi culture. A batch of stencils and colourful chalk powder that is used at Parsi homes to create rangolis. “The rangoli was such a prominent part of our mornings as we grew up. There were motifs to depict happy occasions as well as the sad ones. Neighbours knew something was amiss when the rangoli was absent,” says Lilaowala.
It is perhaps that kind of an authentic feel the designer wants his patrons to take home from his studio. The Parsi world of fine handcrafted luxury in the shape of fluid saris with painstaking gara embroidery. Lilaowala’s work, ever since he launched his line in 2012, has evoked the world of pastels and pearls. The milieu of vintage romance and subtle glamour is reminiscent of fashionable Parsi women known for their exquisite embroidered saris, teamed with gleaming pearls and coiffured hair. “The pearls came in to match the pastel or ivory-hued gara embroidery on their saris,” the designer explains.
The store, designed by interiors artist and events designer Punit Jasuja, is an extension of that timeless aura. Pastel pink and lavender grey walls highlighted with golf leaf flower patterns painted by artisans trained in Jaipur, and hand-embroidered ecru upholstery—the store is an extension of the label Ashdeen, inspired by chinoiserie, which is actually the inspiration for gara embroidery patterns. While the main focus are saris in crepe silk and georgette, there are also jackets, lehengas and stoles in silk, organza and satin.
Born and brought up in Napean Sea Road in Mumbai, the NID graduate shifted to Delhi in 2005 to delve into the roots and routes of the traditional Parsi gara embroidery that were prevalent in Iran and China. “While at NID, where I went to study in 1998, my craft project with the UNESCO focussed on Kusti weaving. I was asked to explore more about the old art of gara. In Delhi, I worked with designer Pooja Singhal of the label Ruh, exposing artisans in Delhi, Ahmedabad, Mumbai and Navsari to fine gara embroidery through workshops. We delved into the origin and meaning of different motifs used in the art.”
A stint with the American label, Baracci, also familiarised him with the art of high-end embroidery on lace and the intricacies of pricing and marketing. “All this while, I continued my research on Parsi gara saris, an ensemble that I grew up watching my mother and sisters enjoy. Then one day, a friend of mine asked me to make a sari for her. It got me more orders. I knew the karigars in Delhi so eventually I launched my line. We played with a few contemporary designs initially but then I soon recognised my strength in traditional gara and stuck to it. Our patrons also love our authentic sensibility and aesthetic. During spring, we release our printed saris edged with intricately embroidered lace. The Bahaar collection uses prints that we develop in-house.”
Playing with typical chinoiserie motifs such as cranes, chrysanthemums, bamboo leaves, peonies, roses and butterflies, Lilaowala does employ his own designer touches. “We play with the depiction and the placements of the embroideries to make it more interesting. For instance, while earlier butterflies would be amidst a floral jaal, I created a design with a cluster of butterflies bursting out. These kinds of designs already changed the narrative and language of traditional gara making it more today,” says the designer.
Another thing that he does is to use single thread instead of the traditional double thread. That’s because he believes that the double stitch technique would make his creations very heavy. “I have always believed that couture saris need to be fluid and not cumbersome. Our saris grab attention because they are that and look exquisite for all ages. Mothers and daughters should come in and feel that there is something for both of them. We are here to create clothes that go down as heirloom. We want to be relevant forever,” Lilaowala rounds off.