Ships in the night

Last year was a rather varied one. I lost one potential friend and found another who had never been lost. I think it was more than fair exchange, since the one I lost wasn't worth keeping and the one I found again has been part of my world for so long that it was not complete without it. I also discovered many hidden strengths in many people, especially in myself - loss did not matter as much as I thought it would and not at all (except ego-wise) as compared to the stunning impact of previous losses. And new discoveries were indeed worth all the anticipation, all the imagination, even all the irritation that had gone into finding what should have been there all the while.

Somewhere along the way on this journey, I made new friends, too, in people I never expected to know. Artists who still keep in touch, never mind that I do not publicise their work. Gallery owners who make sure that I know what is happening in the spaces they manage, even if I am not interested in writing about the works displayed there. Fashion designers who tell me excitedly about new lines they are creating, without ever thinking that I could or would buy them. Fun stuff, great stuff, the stuff of future novels almost!

Like the work of a gentleman with a Bengali name, but based in Gujarat: Amar Dutta. I have two of his designs, both kurtas. One is a deep purple, long, with the most exquisite embroidery in the tiniest and neatest stitches ever - you could not tell the back from the front. The other is a creamy white, in cutwork silk, with extravagant sleeves, a touch of silver sparking the neckline. except that he seems to cater to very tall and slim women with no hips, his work is well worth acquiring, no matter the fairly high price tag attached.

I also added Bela Parekh to my wardrobe. Also not cheap, but worth the effort. The top I liked most is a swingy, cap sleeved little thing, which could be worn as a mini if I still had the legs for it. It is in lovely red teamed with a rather odd brown-grey that soumds unappetising but is actually very elegant.

The most appealing aspect of both these designers' work is that there is a very strong ethnic element to it, apart from the functionality of kurta-hood. They have used traditional craft techniques that are not often found in modern western garments that almost everyone wears these days, and that touch of mirrorwork or block-print or applique or threadwork is what makes it happen for me. When I shop for clothes - and most other fabric stuff - that is exactly what I am looking for. It becomes an identity statement, an affirmation of who I am and where I come from. Which is the secret to being sure of who you are and why you exist. I know. I doubt the people I don't know any more know!