In the vast courtyard of La Monnaie de Paris, where Rahul Mishra held his couture show today, two Indian master artisans sat in opposite corners, each protected from the blazing sun by a canopy of lush foliage while patiently embroidering beautiful naturalistic motifs on a panel and on a flimsy veil. They seemed completely absorbed by their craft, oblivious to the heat and to the chirping swarm of Indian celebrities and socialites attending the show. “They’re almost in a meditative state,” said Mishra. “Probably they inhabit the forests, the lotus ponds, they have conversations with the tigers and birds they’re embroidering. Who knows which parallel universe their fantasy is roaming.”
The embroiderers are part of Mishra’s ethical community of craftsmen to which he dedicated the collection; they’ve been working together since he established his socially conscious fashion house. “The work we do belongs to all of us, to all the people that contributed to making this collection come to life,” he said. “It’s a collective dream.” That’s why he called it We The People. “I know it sounds something like the Constitution.” he joked.
The embroidery in some of the dresses concealed minuscule figures of artisans—some peeking out from a diamond motif, or sitting in circles to form the heart of a flower, or a tiny portrait of the lady who actually worked on a dress. It was a touching way to give the makers pride of place, enhancing their exceptional artistry and including them actively in the collection’s creation. Mishra said that he was particularly proud of the fact that, after years of training people coming from slums and from densely populated sub-factory set-ups in large cities, now the reverse migration has begun—craftsmen are returning to their local Indian villages, to build new communities of makers keeping traditional crafts alive.
The collection boasted the flamboyance and intricacy of decoration Mishra is known for. The silhouettes were loosely inspired by Russian-French artist Erté’s Art Nouveau drawings, and were kept slender and elongated. Over-blown volumes (the designer called them “gravity defying”) like petals, huge bows or girandoles tops stemming from slim bottoms alternated with slender shapes: short bustier dresses, catsuits, midriff-baring tops worn with loose trousers. Tailored pantsuits were cut with “straightforward simplicity,” as per Mishra’s definition. Yet there was nothing simple in the bedazzling glamour of the decorations, and in the uninterrupted sequined shine covering every surface; it gave off a sentiment of joyous excess and exuberance, as if the passion for creation couldn’t be contained.
