‘Freedom fabric’ Khadi: Past Perfect. How will the future look?
Maya Khadi: The Future Fabric Show, organised by the Fashion Design Council of Bangladesh (FDCB), was held on January 19-20
Fashion enthusiasts worldwide usually look forward to the first part of every year as fashion weeks unfold around the world, captivating audiences from Paris to New York, from Mumbai to Dhaka. These events, occurring amidst the winter chill, not only bring joy through new collections, but also convey messages of creativity, awareness, and societal responsibility.
Notably, the growing popularity of spreading awareness - particularly on issues like sustainability and violence against humanity - has become an important trend. Given the influence of the new generation both as observers and consumers (primarily led by Gen Z), brands have recognised the imperative to stay connected and aligned with social causes. This commitment extends from online advocates to true activists, all collectively striving to contribute to a better world.
In the midst of this impactful winter season, Maya Khadi: The Future Fabric Show, organised by the Fashion Design Council of Bangladesh (FDCB), was held on January 19-20. The event was supported by Maya as the title sponsor, and was powered by BGMEA, while HSBC, Berger, Rupayan Group and Buy Here Now were co-sponsors.
While Khadi boasts a rich historical and cultural heritage, its appeal is amplified by its minimal eco-impact - characterised by an almost zero carbon footprint. As the apex body of fashion designers, the FDCB has organised this event for the past five years, and the recently concluded fourth edition carried a consistent message.
Keep updated, follow The Business Standard's Google news channel
The show aimed to draw attention to the underappreciated potential of Khadi, a fabric inherently versatile, which can adapt to contemporary influences to resonate with the fashion consumer base in the era of fast fashion.
BGMEA, a prominent supporter of the event, played a significant role in showcasing the talents of four designers from BGMEA University of Fashion & Technology on the opening day.
The designers, presenting their collections in two segments, demonstrated what could be considered as basic attempts. Nevertheless, the opportunity to feature their work on such a prestigious platform was immensely significant for them, and they delivered commendably. Despite the collections not being groundbreaking, they displayed a notable wearability factor.
The official commencement featured Fayza Ahmed's collection, a distinguished member of FDCB, aiming to highlight the Gaza genocide. The ingenious pairing of keffiyeh with sombre off-white fabric transformed everyday attire into a powerful statement. Amitabh Reza's runway appearance also garnered praise.
This year's show included four Indian designers. Iba Mallai, from the Ribhoi district of Meghalaya, opened her show with her awe-inspiring collection "Kiniho," crafted with Eri silk. The enchanting play of colours, silhouettes and patterns displayed remarkable versatility—ranging from dull ash to baby pink, blue, and off-white—an ideal collection for both monks and urban mavericks. The meditative music added to the overall ambience.
Then came 'Whispers of Elegance' by Sadia Rashid Chowdhury, which intertwined refined aesthetics and modernity in a soft colour symphony, honouring tradition through Khadi fabric and intricate macramé details. It resulted in a captivating ensemble that blends modern elegance with creative sophistication.
Abhisek Roy, another Indian designer at the show, showcased a collection inspired by spring in Shantiniketan, featuring beautifully stitched ensembles adorned with florals. Noteworthy details extended from the calf to the yoke to the sleeves, creating an interesting aesthetic.
Additionally, FDCB designers Afsana Ferdousi and Imam Hassan also presented their collections on the first day.
Afsana's unique choice to make models wear masks gave a distinctive touch, resembling traditional Bangladeshi terracotta sculptures known as tepa putul. In her cue, these clay dolls, usually red, appeared in various shades of white, offering a perfect ready-to-wear look. The intricate works on shirts and pants drew parallels to the captivating formations of corals adhering to stones.
On a contrasting note, Imam Hassan's collection embraced simplicity, featuring tones that ranged from pistachio to soy colour. Collectively, the first day appeared to set a tone for the event.
Interestingly, since last year, global fashion critics have observed a shift where practical clothing is gaining precedence over conceptual designs. Brands known for their highly creative yet less wearable pieces have been opting for more practical options. This trend was evident in both the first and second days of the show.
The second day, or the "finale," lived up to the considerable anticipation, with A-list designers competing to captivate the audience. From Shaibal Saha to Chandana Dewan, each designer sought to narrate a story, introducing surprising elements on the runway.
The opening segment of the Khadi Future Fabric Show was masterfully crafted by none other than Shaibal Saha. His work with indigo transformed Khadi into a dreamy spectacle, resembling small blue waves crashing onto the shore.
The subsequent segment, curated by Charlee Mathlena from Mizoram, elegantly blended minimalism with muted tones, offering viewers a glimpse into the cuts and patterns of indigenous clothing.
The collection presented by design virtuoso Maheen Khan was nothing short of spectacular, showcasing intricate works of kantha stitch. The earth-toned attires, ranging from sarees to freckled tunic dresses to blazers, created a mesmerising display. Actress Runa Khan, adorned in a blue Khadi saree and carrying a blazer, epitomised true vision.
The finale heated up the chilly winter evening at Aloki Convention Center when Shahrukh Amin unveiled his collection. His adept use of white, shimmery gold, and a sudden burst of red brought back allure to the runway. The appearance of the nation's sweetheart, Aupi Karim, added the perfect finishing touch, challenging conventional notions of body positivity as curves exuded elegance. The inclusion of multiple classic songs during the show ignited nostalgia among many in the audience.
Following was Kuhu Plamodnon's collection, a playful and funky ensemble inviting an early spring embrace. The burst of colours provided a refreshing departure from the sombre collections, exuding youthfulness through hand-painted and block-printed designs.
Nawshin Khair's collection radiated elegance in splendid whites, appearing finely woven. Featuring birds and butterflies as recurring motifs in her sarees and dresses, the collection was visually soothing. The draping exuded a sexy and impactful aura.
The concluding trio of designers—Sayantan Sarkar, Lipi Khandekar, and Chandana Dewan—presented diverse styles. Sayantan showcased a vibrant colour wheel, ranging from dull green to violet, mustard, and brick red, in various fashionable and wearable cuts and patterns.
Lipi Khandker's ensemble emanated an oriental vibe in pristine off-white. The crescendo of the show was enhanced by singer Mehreen Mahmud's rendition of a Tagore song. Finally, Chandana Dewan's cue displayed parrot green paintwork on khadi, among other options, bringing a simple yet striking conclusion to the day.
In summary, this year's show successfully reconnected with the audience, empowering them to be the storytellers of the event. The aim is for attendees to leave with a warm experience and renewed enthusiasm, contemplating Khadi as a consumer choice.
Addressing the concern voiced by Maheen Khan that "Khadi is not thriving," the FDCB, acting as a think tank in the fashion arena, endeavours to present various ideas to enhance its popularity.
Notably, an agreement has been inked between FDCB and BGMEA to export Khadi products, although its implementation remains to be seen. The viability of Khadi standing the test of time amidst the fast and glamorous fashion frenzy driven by Millennials and Gen Z necessitates further market research.
Until then, the hope is that artisans will be identified, rehabilitated, and empowered with knowledge, livelihood support, and dignity.
