Tarun Tahiliani unveils 'Baaraat' collection, blending tradition with modernity in Indian fashion

In the city to unveil his new wedding collection, renowned fashion designer Tarun Tahiliani talks to CE about Bengaluru being the least consumptive city
Influencer Rida Tharana (left) walks the ramp at ‘Baaraat‘ on Saturday
Influencer Rida Tharana (left) walks the ramp at ‘Baaraat‘ on Saturday
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BENGALURU: Renowned for his dexterity in giving traditional artistry a modern twist, and being the creative force behind many celebrated looks like Oprah Winfrey’s memorable pink and orange Kanjeevaram saree, the slinky jersey saree that Lady Gaga donned during her debut performance in India, and Kim Kardashian’s dusty peach lehenga at the Ambani wedding, Tarun Tahiliani, is one of India’s most popular designers right now.

Recently in the city to unveil his new wedding collection, ‘Baaraat’ by Tasva, he says, “Bengaluru is the least consumptive of the cities we work in. However, Bengalureans buy the finest things.”

Drawn by art since childhood, Tahiliani’s journey into fashion was anything but typical. Initially interested in architecture and later studying business, he finally pursued designing after working in retail. “I’m a designer who embraces all things

Indian and pairs them with Western construction techniques in the hope of creating a new ‘Indian modern’ identity,” he explains.

Tahiliani credits the birth of his new collection to a conversation with Kumar Mangalam Birla during which they noticed a gap in the market for premium yet masculine menswear. This led to a goal of bringing quality clothing at an accessible price, catering to Indian men. While staying rooted in traditional techniques of handwork and some machine work along with the use of traditional motifs, the contemporary touch comes in the structure of the drapes, making it a smooth fusion.

Tarun Tahiliani
Tarun Tahiliani

Prioritising the comfort of customers, Tahiliani’s approach mainly focuses on modern practicality. “It is always a delight to hear from people who have tried things in front of you say, ‘we never realised that Indian clothes could be so comfortable’,” says Tahiliani.

Tahiliani’s design inspirations often reflect real-life moments – like when the photo he captured of his sister’s house-help in a tucked-up saree one morning, inspired one of his best-selling skirts. “My visits to Kathiawar, Kutch, Rajasthan or even the south (with lungis, worn, hitched up) have inspired countless interpretations of the traditional drape forms into structured drapes meant for the ‘Indian modern’,” he says.

He reflects on how his new collections have incorporated such experimental designs, saying, “Most men today would not know what to do with a shawl, because they can be unwieldy and you have just got to have it in your skin to keep wrapping it and managing it. However, we have done drapes that are a part of the kurta and slowly, once people are used to that, maybe they will go back to actual shawls as well.”

Reflecting on the current landscape of the Indian fashion industry, he feels a need for increased professionalism from the fashion council governing bodies in providing the right exposure to young designers. “Fashion is a serious business and serious businesses are built on clothes that are wearable. If young designers understand that, we would have well served our purpose of being here,” he says.

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