October 2019 Edition Apparel October 2019 issue | Page 67

DESIGNER SPOTLIGHT
Arpita completed the course in 2005, worked
with designers in Mumbai for two years, and then
decided to establish her own studio and label.
First-hand experience in the industry taught her
a lot about designing and trading. Though the
thought of pursuing a course abroad crossed her
mind, she realised that actual work experience
in the field was more crucial, as it gave her an
insight into the dynamics of the Indian fashion and
garment industry. She believed that international
studies would not equip her with knowledge
about the Indian fashion landscape, as they
would be centred on foreign markets.
SETTING UP STUDIO
It took Arpita two years to build a team of master
tailors and artisans. “It was a bit of a struggle
to find the right masters and artisans. It is
paramount for a designer to put together a team
that understands exactly what they require for
each garment and collection; otherwise, the result
can be a disaster.” Once she was confident of her
team, she set up her studio in Juhu, Mumbai, and
worked on and launched her eponymous brand
and first collection in 2009. Since social media
was only just beginning to gain ground back
then, she decided to retail the collection at multi-
designer stores in Mumbai.
CREATING AN IDENTITY
As a new entrant in the fashion industry, Arpita
knew that in order to make her garments stand
out, she needed to give them a distinct identity.
She avers, “Many well-known designers and
established designer labels had been around
when I had entered the industry. So to get
myself recognised, I thought of doing something
different; something with an Indian aesthetic to it.”
Being a Gujarati, she had grown up knowing of
different forms of Gujarati embroidery, and every
year, for garba, an important part of the Navratri
festival, she would get an elaborately embroidered
SHE BELIEVED THAT AN
INTERNATIONAL COURSE
WOULD NOT EQUIP HER WITH
KNOWLEDGE ABOUT THE INDIAN
FASHION LANDSCAPE.
attire crafted in Ahmedabad; hers would invariably
be the best outfit during the dance!
However, as much as she loved the traditional
garba ensemble, the chaniya choli—a three-
piece attire comprising a chaniya (long, flared
skirt), choli (blouse), and dupatta (drape)
accentuated by bright and bold mirror-work and
embroidery—she knew she could not use it in
its truly traditional expression. So she decided to
tone down the colours of the threads (even as
she opted for an attractive colour palette for the
embroidery), while incorporating contemporary
motifs. She even decided to combine the
embroidery with cut-work (and at times, other
elements such as sequins and beads) as well as
self-designed digital prints to create elaborate
patterns that blended seamlessly, hence creating
a pleasing, cohesive composition.
Having successfully brought mirror-work
embroidery to luxury designer-wear, Arpita now
designs garments that are a “playful, glamorous
take on traditional ensembles, think saris with
ruffles, long kurtas, pants, capes, bralettes,
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