Young, cool and contemporary — No Grey Area is a rule-breaker, putting out edgy looks that will make you stop and take note. The brand's S/S ’23 collection, Pravah, debuted at Paris Fashion Week and The Telegraph caught up with founder Arnav Malhotra to talk about the collection, the brand's DNA and more.
Arnav Malhotra
Congratulations on the Paris Fashion Week showcase. What does it mean for a young brand to showcase in Paris?
Showcasing a collection during Paris Fashion Week is a major milestone for NGA. It is a significant opportunity for the brand to gain visibility and establish itself within the fashion industry. It pushed us to raise the bar with everything from rethinking the clothes, the concept behind the brand, and how we communicate the story to customers through our imagery.
In fact, NGA has two showrooms in Paris, one for each season (spring/summer and autumn/winter). This is because the brand works with a designer based in London and has a few advisors in Europe. The decision to showcase in Paris was taken about a year and a half ago with the aim of advancing the brand and increasing sales on the international market. By displaying the hybrid silhouettes abroad, NGA believes that they will sell better not only internationally but also in India. The showroom functions similarly to how the brand showcases its samples and receives orders.
What was your biggest takeaway from the experience?
International buyer sensibilities differ far from Indian sensibilities. In India we employ a "more is more" approach to design, whereas international buyers prefer a "less is more" approach to design where the finer details and silhouette shapes of garments are appreciated, rather than bold colours and prints. To summarise, while the silhouettes remained unchanged, the materials had to be modified for different markets. The Indian market, being a year-round country with four seasons, required modifications to the fabrics to suit the colder climate. Additionally, the samples had to be graded down as Indians are generally taller and slightly larger. However, the brand remains committed to its original idea and does not want to harm its relationship with India at this time.
Tell us about your collection Pravah. It looks really cool.
The collection Pravah is a blend of ancient Indian silhouettes and functional utilitarian urban styles, incorporating Indian military-inspired workwear. The brand's focus on sustainable fashion is reflected in the collection's use of zero-waste pattern-making techniques, which date back to ancient India. The colours of Pravah are derived from natural plant dyes, including shades of indigo and saffron, which hold significant meaning in Hindu mythology and Indian antiquity. The prints in the collection depict mudras, the third eye, and kolam, all exploring the flow of energy.
The silhouettes are based on traditional Indian clothing, including the kalidar kurta, which has been reimagined as a robe jacket, Arubama jacket, and dhoti trousers that combine traditional and contemporary elements. The collection also includes a bomber jacket inspired by an old blouse and a cropped shirt based on an old sari blouse. The colour palette avoids stereotypes associated with Indian fashion, with saffron, indigo, black, and white being the primary colours used. The collection seeks to showcase both contemporary Indian daily life and traditional practices that are still followed in Indian homes today, challenging the notion that India is only associated with the past, especially the Mughal era.
You derived inspiration from various interesting elements. Can you talk us through the mood board?
The mood board for the Pravah collection was inspired by a combination of ancient Indian silhouettes and contemporary functional urban wear. The designers were influenced by the idea of zero-waste pattern-making, which is a sustainable practice dating back to ancient India. They wanted to highlight the contemporary daily life and traditional practices that are still followed in Indian households today. They also aimed to break away from the exoticised Indian dressing traditions that are often portrayed in stereotypes in Western pop culture.
The prints in the collection are inspired by mudras, the third eye, and kolam. Kolam is a daily practice in South Indian households to ward off bad energy, and it's expressed as a print on everyday silhouettes in the collection. The collection's colours are derived from natural plants, with shades of indigo and saffron holding substantial meaning in Hindu mythology and Indian antiquity. The designers wanted to avoid the stereotype that India is only associated with the past, particularly the Mughal era, so they focused on creating a modern everyday experience.
The designers also examined Japanese brands' strategy of combining Japanese craftsmanship with Western silhouettes, and they aimed to do something similar with Indian silhouettes. They used a combination of Indian and Western fabrics to create hybridised silhouettes that are easier for the international market to consume and that's the primary focus of our collection.
Your clothes are gender-neutral. What are the joys and challenges of the creative process?
The joy of creating gender-neutral clothing is that it allows for more freedom and creativity in design. We can explore a wider range of silhouettes and fabrics without being constrained by traditional gender roles and expectations. It also allows us to challenge and question societal norms surrounding gender and fashion.
However, the challenge lies in creating pieces that are flattering and comfortable for all body types. It requires careful consideration of proportions, sizing, and fit, as well as a thorough understanding of the different ways that various fabrics and materials drape and move on the body. It can also be difficult to market gender-neutral clothing to a wider audience, as some people may still hold onto traditional notions of gendered fashion. Nevertheless, we believe that the benefits of creating inclusive and progressive clothing far outweigh the challenges.
What has the reception been like for the label?
The response to the brand has been tremendously positive. There is a growing market for ethnic brands that are distinct from established Western brands. The global fashion industry and consumers appear to be supporting ethnic companies and giving them more representation.
Several Indian crafts can already be found in well-known Western fashion brands that use them as their own on their clothing. Up until now, Indian apparel has only been portrayed as haute ethnic occasion attire. Indian clothing as it stands does not appeal to a worldwide audience since it is very traditional, summer-oriented, costume-like, and over-the-top in its style. The fact that we are promoting that craft is valued by consumers.
Can you tell us about the name No Grey Area? Do you see fashion in 'black' and 'white' then?
The name No Grey Area doesn't refer to fashion being limited to black and white. Rather, it represents a transformation of the modern Indian identity. As the brand evolved, so did the meaning of the name. No Grey Area now embodies the exploration of the connections between ancient Indian heritage and modern Indian urban culture. Initially, the goal was to modernise Indian apparel and create hybrid styles that combined East and West. However, the brand's mission later shifted to bringing Indian clothing into everyday wardrobes. To achieve this, the brand looked back to the original forms of traditional Indian garments, such as the sari blouse, kalidar kurta, Nehru jacket, and dhoti trousers. These four fundamental silhouettes were used as inspiration for creating hybrid bomber jackets that incorporated historical sari designs. The brand also incorporated the core value of zero-waste pattern-cutting into the collection, with around 60 per cent of the silhouettes being zero-waste. The goal was to create versatile pieces that could be worn every day and integrated into modern wardrobes while paying homage to traditional Indian design.
Who are your muses?
Our brand draws inspiration from Japanese fashion brands that emerged in the 1990s, including Yohji Yamamoto, Comme des Garçons, Sacai, and Junya Watanabe. These brands incorporated traditional Japanese fashion, silhouettes, and craftsmanship into their designs to create a unique and appealing style that captivated the world. We consider these brands to be our muses and strive to incorporate similar elements into our own designs.
Where have you seen the best interpretation of street style?
The best interpretation of street style can often be found in cities such as Berlin, East London, NYC, and Hong Kong. These cities are known for showcasing functional and utilitarian garments that are used as modes of self-expression. In these cities, street style often reflects a blend of practicality and creativity, resulting in a unique and visually compelling fashion. From innovative layering techniques to bold colour combinations, these urban fashion scenes showcase a range of diverse and inspiring street styles.
Who do you think are the biggest changemakers in fashion in your lifetime?
In my lifetime, I believe that Chitose Abe has been one of the biggest changemakers in the fashion industry. As the founder and designer of Japanese brand Sacai, Abe has gained widespread recognition for her innovative designs, which often incorporate a blend of different materials and patterns to create unique, hybrid garments. Her approach to fashion design has been celebrated for pushing boundaries and challenging traditional notions of style, inspiring other designers to explore new avenues of creativity. As a result, she has become a source of inspiration and admiration for many, including myself.