Dhir has come a long way – from transitioning into womenswear to fashioning an epochal Jamdani project in collaboration with economist Abhijit Banerjee (who wore Dhir’s designs to receive his Nobel Prize in 2019) to now venturing into the wedding space. And all this by staying true to his ethos and values, being under the radar and letting his work do all the talking, unlike his contemporaries. His allegiance and commitment to textile re-engineering, craft innovation, and artisan empowerment have remained unfazed.
Dhir also went beyond apparel with the Jamdani project earlier this year, where he collaborated with Nobel Laureate Abhijit Banerjee. The project involved creating art pieces with woven Jamdani textiles, featuring stories by Banerjee, and illustrations by Cheyenne Olivier, a French illustrator, and video documentation by award-winning cinematographer Ranu Ghosh.
Robb Report India speaks to the design maven on his design philosophy, brand’s DNA, venturing into wedding wear, and more.
It’s been almost 15 years now since the brand’s inception, and one couldn’t help but ask the design maverick to sum up the evolution of the design house. "As I have evolved, so has the brand. I’ve become a father, and my approach to design has been influenced by my growing children and my increasing experience as a designer. I think the broader acceptance of prints happened after I became a father. Prints such as Maharaja Miniatures and the Panchatantra are inspired by the stories I read to my son Zoraveur and my daughter Beyla."
"I evolved from designing only menswear to transitioning into “He for She,” which was menswear for women. That’s when I brought the printed linings from the inside to the outside of the garments. That’s how the innovative brocades and collections from the last seven or eight years have evolved. Of course, I still maintain my classic perennial collections, featuring shirts with Kanthas, Ikat, and Jamdani. However, I’m also exploring prints extensively because I’ve been delving into printmaking. Because we are rooted in our Indian heritage, our prints communicate stories. Most of these tales, some 2,000 years old, have endured in the collective conscience of Indians from north to south."
You’ve had a very consistent DNA - from jaali seams to luxurious silk lining to vibrant prints, etc. Building a solid brand DNA has been a challenge for a lot of people. Do you think it’s been an organic process for you?
I am my own muse for menswear, and I made Svetlana, my wife, the muse for my womenswear. Because the muses are consistent, I’ve been able to develop a recognisable signature. I will not make anything in menswear that I would not wear myself, even today. Even the wedding wear we are working on now is informed by the thought, “What would I wear to my son’s wedding?”
I never aimed to create a DNA. I discovered prints in my own way and have managed to tell stories through them. I’ve always been a storyteller through different formats.
I’m also innovating with chikankaari. What’s special about our super delicate chikankaari is that it tells our fun little stories. We incorporate Panchatantra tales and other print stories, like Sacred (inspired by Ajanta-period Sittanavasal Jain Temple frescoes), Royal Within (Maharaja miniatures), and there are also personified animals, like black bucks wearing bulletproof jackets. A craft is essentially the technique and skill, but a motif and vocabulary must evolve. I have done this with all the crafts I’ve worked with.
How’s the process of re-contextualising the original brocade in your handwriting?
Upcycling is part of India’s DNA. The concept of kantha quilts comes from it. Old dhotis are used as wraps for newborns, and drapes aren’t discarded as one grows. For over five years, we’ve been working on what to make from the precious cuttings we’re left with, aiming to make them look, if not more, at least equally premium as the original fabric. That’s the motivation. My idea was to do it in an impactful yet subtle way, approaching it as wearable art and creating one-of-a-kind pieces that are tasteful yet statement-making.
Let’s talk about your formative years in Punjab. You come from a family that was in the clothing business. Were you always rooted in these craft techniques, textiles?
While growing up in Banga, I was always excited about the new clothes and shoes I received as presents from my aunts living abroad. That’s likely why my aesthetic is less grungy and more sophisticated. There’s a sense of newness and a polished quality to my pieces.
Do you see a hint of pride among the new consumer investing in India Proud labels?
For me, it’s always been about celebrating our heritage crafts and textiles, which are in sync with Mother Nature. This ensures their longevity, quality, and timelessness, making them heirlooms. I’m happy that Indian culture has always promoted a pride perspective without being supremacist. When a foreigner first sees a brocade and its process in Banaras, they’re fascinated. We, having seen it since childhood, take it for granted. That’s why I decided to innovate with my brocades, giving them a distinct language.
