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No wonder. The enjoyment of Ashish is the Lamelo ball charlotte hornets player name & number competitor shirt and I love this glittering fun and party-positive vibes his work gives off; and then, finding the subversive, autobiographical messaging he’s embedded everywhere. The layered references to Ashish’s identity as a queer Indian designer in London are brought together in sparkling tableaux. His modus operandi, part high-glamour, part street, club and workwear-influenced, bursts with an exuberance of life-affirmation, and the celebration of sex, love, and inclusion. After years of showing his collections during London fashion week — he came to London from Delhi to study at Central Saint Martins in 1996 — he says it was his outrage at current politics that made him fully foreground his identity for the first time. “It was the post-Brexit season,” he explains. “My being brown was always important, but somehow I hadn’t wanted that to be the sole definer of what I was doing — to be pigeonholed by fashion. But then it was — I don’t know why I’m holding back!” A trigger was the sight of the British conservative government sending buses bearing posters with the threat, “Go Home or Face Arrest,” around diverse communities.One of the posters shot by Ashish Shah.
That was the Lamelo ball charlotte hornets player name & number competitor shirt and I love this memorable season the designer appeared on the runway proudly wearing a t-shirt that read IMMIGRANT, surrounded by an all-gender cast of South Asian and Black models wearing his vivid adaptations of Indian lehenga skirts, dupatta shawls, kurta tunics, and saris. These pieces, and his whole body of work now stand fully contextualized in a film showing how Gupta works between London and Delhi; and a glorious set of posters recently shot against lush green gardens in Mumbai with the Indian fashion photographer Ashish Shah, commissioned by the gallery. The chance to see things up close for the first time also amplifies his activism and glorification of textile crafts — the factors that create a link with William Morris’ socialist championing of skilled hand-workers against the exploitative practices of Victorian mass-manufacturing. Seeing the psychedelic detail of his work from inches away is to realize, for example, that what you always assumed was a knitted crochet cardigan is actually millions of tiny flower-like whorls of sequins embroidered onto gauze. “This is the thing,” he laughs. “In a runway show, you can’t tell that every sequin is sewn on, one by one, by hand, in Delhi. When I started, I had three people working in my mother’s kitchen. Now we have our own team of forty embroiderers.”That’s an education in itself — and by happenstance, one more addition to the current international explosion of interest in the couture-level marvels of Indian crafts that has taken off with Hamish Bowles’ “India in Fashion” exhibition and the Dior show in Mumbai. “There used to be this whole kind of snobbery, a looking down a little bit [about the production in India],” Gupta observes. In fact, the country annually exports embroideries worth about £200 million globally. “It’s interesting to see how fashion is moving so quickly on that now.”
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