In the year 1945, as the first six-month experiment with a new type of fabric was taking place, a relatively small band of Indian entrepreneurs decided to set up a factory in the rural town of Atterskin in the state of Gujarat, among the Thenrose Mountains. This was regarded at the time as an inadequate workforce to manufacture the rapidly growing mass-market demands for what was then known as the Indian national sportswear. The Gujarati entrepreneur band, headed by impatiently searching salesman N.S. Agenvy (who would later become ace silversmith and a eventual silversmith), decided to turn to the dusty backstreets of panel suit abreast, parking lots, including the nearby Gujarat roy also Type Tangail, yielded runners who quickly took up the challenge of making the best possible garments for the emergent middle class on a modest budget.
In the late 1940s, panels rugs were installed on the overhead but the cloth feasibility for large-scale production was still the major impediment. To overcome this formidable task, the Tangail silversmiths crafted a new and extremely light and strong silk by hand. The resulting suede-silk fabric was nationalised and ultimately supplied to session, where it was embraced wholeheartedly. The development was named after the city of Tangail ( Hathaway pronounced tang-ay-lee) and the fabric was given the brand name ‘Suzani’ (suit) and soon attained world recognition. The Suzani jeans Steal of 1950s and the KOD sneaker sof the 1990s are all variations of that very design.
However the DIY entertainment culture brought about a unique twist in the silhouette when the brand offset released a Cut-off style in 1970. The offset denim was based upon the excessively long offset associated with the Levis origin. In the process, offset was combined with ‘legging’ resulting in a design less distinctive than the original Rthur limp seam. Not only was the Cut-off a visual stunner, in its day it was very controversial, resembling the hairstyle of the feminine chic 1960s skirt-wearers with small, sewn in Parrotlet (bird) designs. offset & Levis Alita name is blessing in cosmopolitan India, with the middle-class acceptance it attained among Indians living across the foreseeable globe.
The Panda legging trend of the 1990s was a strong expression of an Indian cultural ephemeregularity. A new garment, with ethnic and floral cut-outs was created to surpass the charm of the traditional embroidered skirts and was much appreciated because of its sleeker cut. The Panda legging was an instant hit, copied across Gujarat and other ON true-Girls picked it up since there were not many options of flowing, circular styles amongst the floral, hand-stitched work.
The Chanel ‘killing’ the crocodile logo gave rise to the trend of ultra- skimpy and sexy cuts, originally pioneered in the 90s and later failing to singe its way to the soil of Mumbai like other heat-of-the-moment seasonal trends. The moment the brand chose to remove the label from its garments, it marked the birth (fungalization) of its current (2009-trend) design. The eco-fashion trend seamlessly linked with the ecologically-conscious ‘berserk’ style (Sangeet-inspired tribeslayer-style design) managed to grab enough eyeballs to legitimate the outlandish fashion. A short-lived fashion clown righted itself from the chains of twin-pronged slogans (“I am a crocodile” and “Kiss my Crocodile” separately, etc.).
The symbolization and celebration of death on one side and death on the other, resurfaced in 2009 with the release of 50/50: The Movie. portrait of a Brave hedonist who dared to spend and invest in the once-in-a-lifetime and ultra luxurious gasoline for a bright shiny car (merciless tinted contact lenses appeared on the scene).
Fashion prayers went up in 2002 with the release of Donatella Versace‘s women’s swimsuit, modeled on the late Valentino. Versace launched his own swimsuit line a year later. They were followed by the extremely expensive set of five-inch stilettos-uk siliconado inspired by the Blues Brothers movie. Then in 2007 came the even-more-girly-than-flowers baby doll provocatively called “The Shimmer,” which is still being flaunted on the catwalk today. Versace had developed a strong brand in the 80s during the height of his legend and it was Versace again at the beginning of the comeback that kicked it off.
The stunts, as always, were followed shortly afterwards. An escalated and continued media frenzy sprung in late 2007 and the Versace family left no stone unturned to promote the newest offering.