Book of The Boys

They are often referred to as The Boys. Known for exquisite, elaborate and over-the top creations, each a piece of rococo art rather than a garment that could be worn with the same casual flair as a pair of jeans – at one end of the sartorial spectrum - or an heirloom sari, at the other, they are favoured by the filmi frat and the celebrity coterie. Abu Jani and Sandeep Khosla have been partners for 25 years now, working on fashion for the individual and the home, on their television show, on the occasional film and on the revival and rejuvenation of classic crafts. To celebrate this anniversary they have put together a two-volume book that speaks eloquently of their design sensibilities and their meticulous striving for perfection. The duo has dressed everyone who is anyone in India and abroad, their styles being seen on the likes of Bollywood royalty (from the Bachchan clan to the Khans and Kapoors who light up the silver screen) and Hollywood luminaries, including Judi Dench, Maggie Smith, Frieda Pinto and Sophie Marceau.

It began in 1986, when Bombay-born Abu, who started his career designing costumes for films, met Sandeep from Kapurthala, the young man who worked in his family’s leather business. They had no money, no qualifications, just talent and determination. The collaboration began almost immediately after, with a first collection called Mata Hari being shown off four months after the partnership was formed. They were passionate about all things Indian; as Abu said some years ago, “We are unabashedly Indian in our aesthetics. And passionately in love with the rich cultural, historic and design legacy of our Land. Design is our way of paying homage to that beauty. By taking it into the 21st century.” Classic elegance, fine fabrics, exquisite hand-work and superb finish characterize their garments, which incorporate ancient techniques and craftsmanship of chikankari, zardozi, tharad and mirrorwork.

And to celebrate this quarter-century of togetherness, Abu and Sandeep have conceived a book, India Fantastique, that Sandeep explains with “Abu and I thought long and hard about how we wanted to celebrate our milestone, and also about how we would use this celebration to set the vision for our creativity and ourselves in the next twenty-five years. It soon became clear that a book, or rather two as it turned out to be, was the ideal vehicle.” Volume one includes dozens of designs the duo has created, with closeups of details. Volume two zooms in on their interior design concepts. Sotheby's London will be hosting an exhibition on the 25-year-long relationship and its results, called India Fantastique, September 3-5, which sets Abu-Sandeep’s landmark fashion against a backdrop of images from some of their most fabulous interiors. 

It really does not matter who answers, Abu Jani or Sandeep Khosla, because the two minds think so alike and the two sensibilities are so finely co-tuned. One speaks, the other voicelessly echoes. They are fluent – albeit distracted by the hustle and hurry of having a launch, a party and so much more that goes into a celebration of this kind of life and work – and clear about what they say.

It has been 25 years since your partnership began. Has it been a smooth ride right through?

We were fortunate to receive instant accolades and sell out with our debut collection, but of course it hasn't been smooth. Blood, sweat and tears are the ingredients when you choose to dream big. And our dream was no different. Financial constraints, setbacks like a fire which destroyed everything, refusing to change or compromise or downsize - none of these things is easy. But the disappointments and struggle have been the most valuable teachers. And when things have seemed impossible, the belief of others in us has enabled us to always believe in ourselves. Along with the hard graft there has been much magic and many miracles.

From Jashan to Abu-Sandeep – what has changed, evolved, developed in your design sensibilities?

An artist is evolving in a continuum. You finish something and are compelled to create again. We have always been maximalists. Our couture has always been classical rather than trendy. What is merely fashion will always be transient. We aim to transcend the limitations of now and create something which will always be current. You hone, you evolve, you set new standards and then break them but ultimately you retain your original sensibilities because they ARE your core.

How has the market for your kind of couture changed in the 25 years since you started working together?

It’s become bigger. We are blessed that we have always found an appreciative audience. One that continues to grow. At the end of the day, if you have the goods, there will always be a buyer. We believe in allowing our work to speak. And it seems to reach the 'ears' or rather the wardrobes of a diverse audience.

Why did you choose chikankari and zardosi to concentrate on?

Because chikankari had disintegrated into its crudest form, as had zardozi. And it irked us to see the down-gradation of a such regal and impossibly beautiful techniques. It was painful to see what these crafts had been reduced to. And so we made it our mission to bring them back to their rightful state. We have dedicated ourselves over the years to revival and reinvention. India has an unsurpassed legacy when it comes to textiles and craft. We incorporate that history and fashion it for the future. Apart from chikan and zardozi, we have refined mirror work, resham, tharad and rabadi. Taking things to new heights is one of our passions.

Is there an abiding clientele and use for couture? Or is prêt slowly taking over, with easy-to-wear rather than ready-to wear being the bon mot?

Couture will always have a market in India. We are not only au fait with luxury, but accustomed to it; we are inclined towards made to measure, addicted to living large. Of course, fashion must extend to the masses and pret will be the way forward for that.

Has fashion in India come of age today? Is there original work being done, or are we still aping the West?

There is a lot of talent out there. But there is also too much derivative or borrowed design. The ones who last beyond flash in the pan success will be those who are original.

You have a lot of big name celebrity clients, many from Bollywood. Are their demands/needs any different from anyone else’s?

Every client is important. A celebrity client is merely much more visible, so any mistakes/accomplishments make news beyond cocktail party chatter. Every man and woman we dress deserves to look and feel their best.

You said two years or so ago that you would like to design a whole Bollywood film. Is that going to happen?

It will. When the right project comes along.

Your goal was cited as being ‘to build a worldwide brand with shops all over the world - to put India on the creative fashion map of the world’. Do you think you have done that with all your work and the clients you dress – internationally and at home in India?

That is the dream, for sure. One we have begun to live. We do want to put India on the global map. And whenever we have created, it has been without compromising our sensibilities or ourselves. When Judi Dench or Sarah Brown or Princess Michael, or any of our many international clients have worn us, it has been US they have worn. We want global success, but it must come without diluting or warping who we are. There is a long way to go. And it is something which requires big bucks or funding. We need corporate India to believe in Brand India. Only then can we or any other Indian fashion house hope to make it on the global front.

You won a lot of female hearts (mine included!) when you said that “We are a culture and a body type that is made for curves. It's Ajanta Ellora [ancient caves containing paintings depicting voluptuous goddesses] not Twiggy that floats our boat and our fashion. The sari is made to be draped against rounded hips and the swell of a bosom. It sits better.” Do you still believe that?

Of course we do! One doesn't change one's beliefs according to what is fashionable. And nothing is more beautiful than a woman comfortable in her own skin. Sexiness isn't a shape or a dress size. But if it were we would like to think it was voluptuous with a capital V!

This fabulous book – why a book? Why not a film or a multimedia presentation? How did it happen? What did you not use when you put it together over the last two years? There must be so much more….!

Because a book is forever. It combines both language and visuals. This moment, our journey, couldn't be encapsulated in a presentation. A movie is again didactic. It dictates what the audience sees. There is a certain beauty to a still image. It allows you to dream, to read between the lines. To create your own relationship with the content.

And yes, there is plenty that didn't make it into the book. Like curation, one chooses that which best represents one's vision. We do have a lot of beautiful excess which will be incorporated in other media and also serve as a catalogue of our work.

You design for yourselves, you have said. What gives you the most pleasure – creating the garment or seeing the smile on the face of the person who wears it?

For any artist, to create is their life force. It isn't something one controls, but rather that which takes you hostage. It is both pleasure and pain, beauty and torture. So of course it is the prime mover. To see that creativity bring joy to the recipient is a source of immense pleasure and joy to the artist, but it is not what they create for. Our work isn't merely a product to us. That would make it a business. And as you know, business has always been a by-product of our work, never its raison d'être.

Garments, interiors, a television show, international exhibitions, now a book. What next?

More. More. More! More, taking it global in a much bigger way. Creating bigger and better. Expanding our field of vision to include other lifestyle verticals. There is no rest and no limits for the inspired mind.

What makes Abu-Sandeep truly happy?

To create without constraints. To live life on our own terms. To be there for those we love. To make a difference.

EXHIBITION

An exhibition of the designers’ work will be held at Sotheby’s, 34-35 New Bond Street, London W1, from 3rd to 5th September, to coincide with the launch of India Fantastique.

India Fantastique

Fashion: 402 illustrations, 300 in colour Interiors: 167 illustrations, 162 in colour

£95.00