The words that come to mind when one thinks of the creations by designer Rimzim Dadu are ‘wearable treasures. A fashion nonconformist who is adept in textile innovations and techniques, Dadu chooses to steer clear of run-of-the-mill designs—like the ones that have, to an extent, plagued the fashion space—only to favour those that push the boundaries and emerge from a signature aesthetic that the designer has maintained right from her brand's infancy. Dadu has, over the years, not just understood textiles—she's from a family that is in the garment export business and has been exposed to Indian crafts and textiles from a young age—but also mastered the skill of engineering and re-engineering them. But that's not all! The designer is rightfully endorsed as someone who can manipulate materials such that it complements the human form to perfection.
Ahead of her landmark runway show that marks her milestone collection—Dadu celebrates 15 years of the brand; actors Tara Sutaria and Vijay Varma are the showstoppers—that was showcased as a part of #WeekendsAtKNMA at Kiran Nadar Museum of Art (KNMA), Saket, on Saturday, we speak to Dadu about her journey in the homegrown fashion industry and how her brand has evolved over the years. Edited excerpts from an interview...
Tell us about this milestone collection. What new can one expect from the Rimzim Dadu label?
This is a retrospective collection; we have gone back to where we started and taken inspiration from our past experiments to create new pieces. Every piece in the new collection is an ode to our ethos of experimentation and innovation in fashion and textiles. We also have an exhibition [as part of the KNMA Art X Fashion series, Dadu's brand will exhibit a slew of designs from her 15-year body of work in a six-day exhibition in KNMA]. It is a showcase of our tryst with textile innovation over the years. As my label completes 15 years, I look back at my work with honesty, gratitude and also through a critical lens. Behind our successful triumphs in surface texturing lies a series of failed experiments. While we celebrate our work in this exhibit, we also bring experiments that did not work but taught us and gave us a way forward.
Each installation in the exhibit weaves a story that makes the audiences understand our fascination with making unusual materials—like steel and silicon—into wearable art. The exhibit also brings some of our signature experiments—the leather patola, and our weaving experiments with paper, silicon, steel, chiffon, and zari—to the public in their raw form.
The immersive exhibit also has my artisans live showcasing their mastery over these art forms, along with telling their own stories of how they became fellow travellers in my journey and a part of my studio they like to call 'The Lab'.
You added life-sized sculptures to your debut couture collection; have collaborated with architect Rajat Sodhi; and now have artists Manisha Gera, Vibha Galhotra showcasing your designs in this show. Have you always been inclined towards art? Also, what made you merge the worlds of art and fashion for this collection?
I have always been drawn to different art forms from the start. But I never subconsciously tried to create wearable art—it just happened organically. I feel art and fashion are two sides of the same coin. Clothes have always been a medium of self-expression for me. They are my vehicle for showcasing my fascination with using unusual materials or picking a traditional material and changing its very nature to create wearable couture pieces. I take this approach to how I present my shows. I have loved creating life-size art installations to use them as the backdrop to present my collections. And that is where I have Rajat Sodhi to thank for. He is a friend but also an ace architect. Our aesthetics match and he really understands my craft. So it is a natural partnership and that’s why we create magic every time we work together. The 15-year show is no different.
You have previously experimented with and created silicone jamdani and leather Patola. From a handloom perspective, what is the Rimzim Dadu label innovating with currently?
Experimentation is at the heart of everything we do. My team likes to call my studio ‘The Lab’ and I don’t blame them. We are always experimenting but the world gets to see only a handful of those. The new collection has our take on the Ikat, among a few other experiments. We are currently working on a home decor range—but it is several months away from launching.
You once mentioned, “silhouettes and shapes are not my strength”. Do you adhere to that statement today?
I can say we have grown as a brand in every step. What I meant by that statement is that I am not a conformist and I do not like to follow set precedents—whether it is in design, materials, or silhouettes. So, we let the material be the hero of our designs. We study after re-engineering materials, see how they fall, how they take shape on human bodies, and that is how our silhouettes are born.
You have been known to never work with a sketch to start with and your focus always remains textiles. Give us an insight into your design process. Has it changed over the years?
I would say it has evolved over the years. But a major chunk of the process still remains the same. Being happy with the material is always the first step. After several rounds of experimentation—breaking apart materials and putting them back together, we approve a textile. Then comes the design part. The idea is always to create pieces for our customers that are timeless and unique. And to achieve this, there can’t be any shortcuts. So it is a long-drawn process and it has remained the same.
Starting from ‘My Village’ [Dadu's label was named this at its inception in 2007] and now your eponymous label post the rebranding… has there been a transformation in your design ethos? Also, was there something different you focused on, over the years, from a business perspective?
Design ethos has remained the same and the brand now has its identity rooted in art and innovation. I always like clothes that are technically perfect. The transformation has come in the way we have been able to use our designs into new categories like accessories, wedding wear, and menswear, all of which we launched in the past few years. And that has definitely made a difference when it comes to business.
When you look back from a retail point of view, do you think the Indian consumer took time to understand your design sensibilities?
Totally! When I started, I was sort of a rebel and I wanted to create what I liked. It gave me a sense of freedom. I have always had a loyal but niche set of clients. But, over the last decade, the brand has grown significantly because of its distinct identity. So yes, more people now understand us but it also speaks volumes about how consumers have matured, and they don’t like to follow the herd. Today, all kinds of brands have a space.
Fifteen years in an industry where you stand apart because of your design nous and your off-kilter approach in textile innovation and creation. What are the takeaways over time?
There are so many. But the most important one for me is the fact that I believed in what I was creating and I never compromised on that. I never gave in to market pressures. While I look back at the last 15 years with gratitude, I sometimes still feel like a twentysomething who gingerly walked the runway for the first time. I would like to retain that freedom and a sense of detachment for the years to come.