Getting down to it

Brass Tacks Gold

2010-01-05T21:34:00.002+05:30

December sales were not what I hoped they would be. I knew I was taking a risk with the focus on party wear, but I didn’t realize what a small segment of the market I was catering to with those styles - not because only a small segment is interested in party wear, but because those styles don’t necessarily appeal to everyone. I liked the collection though- and it was fun to design styles and put them out there because I wanted them to be a part of the collection, rather than editing them until they “fit in” with the styles that have done well in the past.

From customer feedback and sales, it seemed as if people either really liked the styles in the latest Winter Collection, or they really disliked them. There weren’t many in-betweens. In many ways this is a good thing because it means that the brand has a distinct point of view. However exploring the area of “fashion-forward, niche clothing” has meant catering to a narrower and slightly more high-end customer base – which, aside from the sales perspective, wasn’t really what I set out to do with Brass Tacks. What can I say- I got carried away with designing and forgot to think about commercial appeal!

I want to design creative clothes, but I also want to appeal to a wider, more mainstream customer. Enter new plan: Brass Tacks Gold. In every collection I will have 2 or 3 styles that are a little more adventurous and fashion-forward compared to the usual Brass Tacks collections. These styles can be quirky or glamorous, but they must be visually distinctive. From this past collection French Parfait (with more volume at the hip ruching) and Sculpted Dhoti fall into the Brass Tacks Gold aesthetic. For these styles I will have a small inventory, but these are the styles that will carry the brand image. The rest of the styles in the collection (around 10 styles) will stick to the core Brass Tacks aesthetic: simple, with small twists and tailoring details.

French Parfait (left) and Sculpted Dhoti (right)

2009 has been a difficult year with a lot of lessons learned. Now with the new pricing scheme, a “kurta” quota in every collection, and ‘Brass Tacks Gold’, I’m excited for this year.

Winter '09 Collection Details

2009-12-17T22:12:00.004+05:30

Benaras with ruching detail

Paper Kurta in khadi cotton with dart details

Silky Water with button details

Chikan Trellis with Chikan embroidery detail

Get this look: Sculpted Dhoti

2009-12-10T08:22:00.003+05:30

I used to have a problem with the way media, and fashion magazines in particular, sell products. The cosmetics section in every magazine is cleverly called the “beauty” section (you’re not beautiful this month if you don’t wear xxx eyeshadow), and the writing on fashion and lifestyle almost makes you feel frumpy for not wearing the latest fashion trend (on their list of essentials this winter is a 42k wool cardigan) or not using words like staycation. Of course this could just be a case of sour grapes because every attempt I’ve made to get Brass Tacks featured in Vogue has been in vain. The closest I’ve come is Lavanya Nalli wearing one of my tops in her feature (thank you, Lavanya).

left: Lavanya Nalli in Vogue Magazine; right: "Swatches" from the Spring '09 collection.

But truth be told (and I like to tell the truth), I have a much better understanding for how the industry works now that I too have a product to sell. It’s not always about selling reality- it’s about creating a fantasy and giving people something cool or glamorous to aspire for. Owning the product is not the fantasy, but using/wearing it should make the owner feel a part of the fantasy.

Fashion shouldn’t be rigid in its instructions on what to wear and what not to wear. After all in an ideal world we should all wear something that is representative of our inner selves- and how homogeneous would the world be if we all shifted from one trend to another at the same time? Fashion can however open our minds to other forms of self-expression. Up until recently I never used to pay attention to fashion trends and I always focused on the overall look of a garment while designing. My new found insight has now taught me that it’s not only about the look, it’s about the feeling as well; I need to design clothes that make the wearer look and feel good.

"Sculpted Dhoti", in burnt orange and olive from the Winter '09 Collection.

Inspired by all the Harem and Turkish and Dhoti pants I’ve been seeing in magazines, I made my own pair of dhoti pants for this winter collection. I’ve always felt that this look is perfect for Indian women who are confident and proud enough to embrace their hips, and I really think it has a lot more attitude then a cocktail dress. So come over to my store and get this look- it can only help your stylish staycation get better. Oh and don’t forget to rock it with a pair of heels and a glass of single malt in hand. That’s right, Single malt is the new Mojito.

Okay, I’ll stop now.

Sophomore

2009-12-05T17:17:00.006+05:30

For months I’ve been trying to work on a pair of cotton trousers that have a great fit around the hip and waist. I feel that most affordable brands (abroad as well as in India) make trousers that are more or less straight from the hip/butt up to the waist. So whatever fits me at the hip is loose at the waist, and if I try a size smaller then I can’t get into it because it’s too tight around my hips. I know I am not alone in this feeling, and I don’t even have a curvy figure to boast of, so what are all the other Indian women doing for trousers?

Out of necessity to add a pair of cotton trousers to my wardrobe and the desire to get to the bottom of this trouser-for-women-with-hips problem, I have been spending a lot of time and energy and even tears (yes, there was that one time when I just cried in frustration) trying to develop a pair of cotton trousers that fit well. You’re probably wondering why a simple pair of cotton trousers requires this much time, but it’s tough to get that perfect fit without lycra; plus I don't have any formal training in pattern making which would have definitely helped. Things reached a point where I tried to outsource the pattern making to other companies that provide this sort of service, but I wasn’t happy with their fits either. Then I went sleuthing around at other major boutiques, but either they didn’t have great fits in pure cotton, or they used blends of cotton, polyester and lycra to get a figure hugging fit.

It kind of pains me to know that the pattern we finally arrived at was under my nose the whole time. It just required a few tweaks from another pattern we had (raise the crotch level, tighten the thigh and contour the waist) which I discovered after spending 2 days staring at all the paper patterns and pants we had produced so far. Anyway, after months of making around 50 samples that didn’t work, I have introduced our first pair of cotton trousers, “Sophomore”, into the store. It’s fitted around the hip, it’s booty lifting, and it’s really comfortable. It comes in brown (the ones in the photos below), ivory and black. I’m so excited about these that I'm giving my regular customers a special price on these trousers just to share the joy.

Ikat Paradise

2009-11-25T10:43:00.004+05:30

Perusing a fabric storage unit is always physically stressful. I have an acute fabric dust allergy, and a storage unit with tons of unwashed fabric sends me into a sneezing frenzy from which I take a full day to recover. Still, I can never refuse the opportunity to go through a supplier’s storage of fabric because I usually discover at least one fabulous piece that I would never have seen otherwise; usually suppliers tend to send swatches of their latest fabrics rather than an old forgotten piece lying in their ‘godown’.

In the last couple of months I’ve been keen on developing ikat fabrics with large motifs, similar to the ikat designs I’ve seen in antique pieces from Uzbekistan and Kazakhstan. I took a few print outs of images I found online and in encyclopedias and sent them to my supplier, Manasa Ikat Fabrics, in Hyderabad for reference. He said it would be difficult to develop and asked if I could just choose from his own collection. He sent me some swatches, but except for one, I didn’t care too much for the others- they were large motifs but they looked like Indian home furnishings fabric.

During my trip to launch my Monsoon Collection at Daaram in Hyderabad last week, I visited his fabric godown. I found just what I was looking for and more. Here are pictures of Central Asian designs and some others that I really loved; my trip there was definitely worth the clogged sinus.

Getting Back on Track

2009-11-19T08:42:00.005+05:30

For once, hearing multiple opinions about my work has given me clarity and re-affirmed my faith in my original goals. A couple of weekends ago I went to Mumbai and met with fashion boutique owners to get feedback on my collections and design sensibilities. Most of the store owners said they liked my clothes but that it didn't fit in with the rest of the collections in their store. I understand where they are coming from- if someone walked into a high-end store willing to spend upwards of Rs 5000 on a garment, they wouldn’t want something simple looking (no matter how well cut or well tailored). One store owner added that women in Mumbai get put off by cotton!

At first I hid under the shelter of my brand positioning and stereotypes about Mumbai and Delhi (which is that they are into bling and my brand is far from that). Honestly however, there is a lot of creativity out there that has nothing to do with bling in the high-end fashion market. I came back from Mumbai wishing that my clothes were just as creative (rather than safe) and wondering if I should tap into the high-end market to make some money. But the truth of the matter is that Mumbai and Chennai are very different markets, and I am much more excited about designing affordable well-cut clothes made from high-quality handwoven textiles rather than a few high-end pieces. At the same time, I would be lying if I said that making money isn’t starting to become a pressure – hopefully that will change once I earn some!

My trouble and difficulty now lies with being in Chennai and figuring out my initial market here. I’ve talked about this before- how my fabrics appeal to older women who appreciate the textiles of traditional sarees but the cuts and silhouettes appeal to younger women. While I am trying hard to incorporate brighter colours and a good mix of traditional and modern textile designs in my collections, the toughest part is choosing which styles (cuts and silhouettes) to make. I get the feeling that women want something different, but not too different, and figuring out the fine line between Unique and "too different" is a lot tougher than it may seem. The halter dress (Black Orchid from the Monsoon collection) is young in style and many women liked bought it but many also said that it was too dressy and that they don’t have an occasion to wear it to. The sand washed cowl neck tops always do well, but cowl necks have now become a Brass Tacks staple and they are so safe! Snapdragon, one of my personal favourites, has a fitted torso and a wide sleeve and while customers love the fit, they prefer a regular cap sleeve rather than a wide one. What if I had made it with an ordinary cap sleeve though- wouldn’t that have made the top too ordinary?

I’m happy to hear suggestions on how to walk this tightrope, and in the meantime here is a photo of a blue ikat fabric in silk that I bought in Hyderabad to make Black Orchid (in blue).

Drying on my balcony (yes, I washed it myself).

At the store when I bought it.

Monsoon 09 Textile Details

2009-10-25T08:25:00.006+05:30

Many people have told me that my website should have a zoom facility so that they can see the texture of the fabric and some of the garment details. I was in such a hurry to get a website done within a certain budget that I didn't look into providing some of the options that you often see on websites that have online shopping (which is a pity because the photos don't always do justice to a garment made from fabric with so much depth). It's probably going to be a while before I get the website re-vamped again (it's a painful amount of micro-managing every time) and I know a home photography job isn't the best way to show the textile details, but here are some photos of the fabrics from the latest Monsoon Collection

Silk ikat woven in Andhra Pradesh for "Black Orchid".
Mud resist block printing done on tussar-cotton fabric in Kaladera, Rajasthan for "Cinched Kimono".

Soft cotton twill handwoven in Andhra Pradesh for "Comfort Skirt"

Jamdaani (the black motifs done by adding an extra weft by hand) on khadi cotton, handwoven in Andhra Pradesh for "Lady Bird"

Handwoven cotton with coloured ribs from Andhra Pradesh, for "Snapdragon".
Some of these photos have two fabrics to show other colour options in the same style.

Behind again

2009-10-21T09:03:00.003+05:30

There was a time, not so long ago, when I had my collections planned out for the entire year ahead. Even if I hadn’t ordered the fabrics, at least knew what I was going to order; saving me hours of time deciding which colour, which design and which print to order. Now I’ve found myself running behind schedule for the winter collection (I’m still ordering my fabrics and will probably have to launch the collection a few weeks later than planned), and since I’ve been spending time focusing on the higher level stuff I’ve let go of a lot of small but important details.

The solution isn’t really to cut out on the higher level stuff- it’s important that I concentrate on the branding and marketing aspect of my business – but I guess I need to manage my time a lot better until I can afford an efficient assistant. I wouldn’t have put so much thought into coming out with a new pricing scheme for my collection (which is I think is paying off by the way) or listened harder to customer feedback about the lack of bright colours if I wasn’t spending the amount of time that I have analyzing past sales and talking to customers at the store. However all the new information that I have now has made me a slower decision maker (translation: indecisive). I think ten times before ordering fabrics now (“will this really be popular and still stand out as different?”) and I spend more time explaining design ideas to my suppliers.

This new process is a little more tedious, I have to admit. When I wasn’t thinking about customer appeal I selected fabrics that were more representative of my taste and my design aesthetic. Now I’m conscious of sales and catering to a wider variety of tastes that my customers have. So rather than nurturing that innate instinct that drew me to a particular fabric I am trying to hone my data analysis skills to choose fabrics that will increase my store popularity. Serves me right for majoring in economics.

All this high level work has resulted in the suffering of other small details (or low level management) that went a long way. I’ve stopped doing my random checks on garments at the production unit and I’m starting to find small errors with finished garments at the store. I’ve stopped my training sessions with my sales staff and I find they are settling into complacency. When do founders of businesses get to leave behind the small stuff to focus only on high level decision making?

Right now I’m ordering ikat fabrics for an ankle length cotton dress for the spring collection. I had originally wanted Uzbekistan ikat inspired designs, but those might be hard to design and replicate in Andhra. So here are some designs from my supplier in Andhra and I’m trying to figure out which ones would work better and what colours I should change. Think of these fabrics made into a thin cotton dress, fitted at the empire line and with a halter neck or a low neck with thin shoulder straps. Thoughts or suggestions?

I really like this one but might have to change a few colours to make it look brighter. Perhaps indigo instead of black or fill the white spaces with indigo.

This has promise but needs a complete colour makeover. I was thinking of going ultra modern with yellow, pink and peacock blue (it will look muted when mixed with the off-white weft yarn).

My Cottage Industry

2009-10-07T14:11:00.005+05:30

A recent financial crunch has got me thinking about the future and security of Brass Tacks. I’m not referring to the recession but rather my current bank balance. I’ve been ordering fabric in large quantities to feed my store as well as the Brass Tacks section at Daaram (Hyderabad), but it’s going to take a long time for sales to pick up there and for me to recover those costs. The good news is that the low bank balance has motivated me to think of new sales solutions like the new pricing scheme and the idea of brighter colours for future collections. What I need to focus on next are issue of scale. How viable are some of my measures for quality control as the company grows bigger?

Take, for example, the issue of fabric shrinkage. To guarantee my customers that none of my clothes will shrink I have them all washed once. If a fabric has a loose weave, it is soaked for an hour and then washed. If the shrinkage is very high, it is washed again to shrink a second time. This process also gets rid of surface dyes and any nasty smell that the fabric has absorbed during its long train journey to Chennai. Right now all the fabric is washed by the woman who washes clothes at my parents’ house. It started out with tiny quantities of 30 metres of fabric per week, but as the company has grown the quantities have gone up (I’m embarrassed to admit how much fabric I send home every week). It just doesn’t make sense for me to send all the fabric home- it seems so unprofessional and so cottage industry-ish for a company that wants to operate like a mini industry. However at the moment I don’t have another solution. There must be large industrial machines out there that mimic a “gentle handwash” process for handwoven fabrics, but I haven’t had the time to research them yet.

Until Brass Tacks has more creative solutions for the not-so-easy-to-scale stuff, we’re still washing all our fabric in-house (literally). And since both my parents were out of town last week and none of their domestic help came to work, the next best (and immediate) solution for some kora coloured khadi fabric to be shrunk was for me to wash it. Oh well, at least the dress ("Lady Bird") got made in time for weekend sales.

Monsoon Collection 2009

2009-09-27T19:41:00.007+05:30

Every time I launch a new collection I say I’m excited about it, but this time it’s not just the excitement of putting something new out there and waiting to see the response. It’s exciting because I’ve tried harder to incorporate feedback about pricing, while also trying to make clothes that are less safe. I’ve stayed away from the shaped “shift dress” pattern this time with my evening dresses: one is a silk halter dress in ikat ("Black Orchid") and the other is a printed tussar dress with ruched sleeves ("Epiphyte"). My summer collection had a lot of sleeveless tops so this collection is a bit stronger in the sleeves department, but most important of all, with this collection begins a new pricing scheme that I’m starting.

Normally the costing for my garments is the sum of materials and tailoring cost (which is standard across all styles) multiplied by a profit margin. With this collection I’ve tried to get a more accurate measure of the tailoring cost per style (some styles are simple and one tailor can make 4 garments in a day, while others are more complicated and can take a tailor nearly 6 hours to make one piece). This means that the simpler garments have become less expensive than what they would have been compared to the old pricing scheme, but it also means that the complex garments have become more expensive. Hopefully it will be for the good however, because now I offer a wider range of prices at my store (Rs 660 to Rs 3000).

The goal for this collection was to take the “Brass Tacks look” up by a notch or two and try styles that are more adventurous and more glamourous as well. Except for the “Shirt Dress” which has a very different look (I like it, but it definitely stands apart from the rest of the collection), I’m happy with how cohesive this collection has turned out. In fact it’s more cohesive than some of my past collections even though the theme isn’t as strong.

Below are some of the creative shots from this collection. I wanted the flowers to add to the glamour aspect without looking like an incongruous prop, so I made them accessories that complimented the outfit. I tried so hard to source Hanging Heliconias for the khadi dress ("Lady Bird") but couldn’t find any the day before the shoot so we had to cut regular Heliconias and string them together with wires. My photographer did wonders with the lighting to create a fabulous backdrop, the model was enthusiastic and helpful throughout the day, and the owners of my favourite childhood store lent their jewellery for the shoot (just in case you were wondering, back in the day I used to buy their handmade paper and I didn’t start buying their jewellery until a few years ago).

"Lady Bird", cotton khadi dress with pleat details at the neck. The shrug (“Colombo Shrug”) that is photographed in this dress got ready only by 4pm so I didn’t get to shoot it with the dress in the catalogue shots.

"Black Orchid", a halter neck dress made from handwoven mulberry silk with diamond shaped ikat designs. White Orchids were draped on her arms (by the model's friend who showed up in the evening to lend a hand) and I love the final outcome- looks like orchids are growing on her arm!

"Epiphyte", a printed tussar-silk dress with a fitted empire line and ruched sleeves. These Aranthera Anne Black orchids we used to braid into the model's hair and twist around her neck were so easy to work with. The flowers never fell off despite all the twisting and the colour looked great with the dress.

Jewellery: Courtesy of Aesthetics, Radha Krishna Salai (ph: 044- 2811-1973).

The rest of the pictures will be up on the website soon.

Big Picture with Little Details

2009-09-21T08:28:00.005+05:30

In my most focused moments at work, I am a bit neurotic about little details. I look at a garment and scream when one arm hole looks bigger than the other, and I walk into my store and remind myself to take deep breaths when I see paint peeling off the walls (I’ll never get to the bottom of that annoying leakage problem). I often get annoyed when people tell me that these little details are not important and it’s the big picture that matters. But to me the details are everything and without that you have nothing! Of course when I’m feeling less neurotic or a bit lazy then I’m able to shrug it off (told you not to sweat the small stuff), but of late I’ve realized that it’s not about small details versus the big picture. The two go hand in hand and it is vital to keep switching back and forth to stay on track (and to maintain your sanity).

I don’t know why it took me so long to realize this- it does seem like intuitive common sense after all- but two incidents last week helped me arrive at this conclusion. The first was an exchange between Mala Sinha of Bodhi and me. I wrote a post about Mala last year when I visited her workshop in Baroda. Recently I wanted to place an order with her and I was so impressed to receive these “strike offs” in the print I had asked for with various colour options. I had asked for this print (shown below) in indigo on tussar fabric. Before going into production, Mala sent me a few options including her personal recommendation (indigo on light blue) that ended up looking much nicer than what I had originally ordered. How many printers will take that kind of trouble to show you a different colour options on the fabric you want? Most of them will just tell you that different fabrics absorb colour differently and that you should not expect a 100% colour match.

(Mala's strike offs. The right most one was her recommendation).

Thinking about Mala’s service made me realize that for every one of her buyers who places an order, there must be at least ten others who ask for different colour variations but don’t follow up with an order. Providing that service to everyone must take up a lot of time and effort, however if she didn’t provide that service, then she might not have people like me writing about her or a set of loyal customers who appreciate her consistent good quality. Taking effort over the little details does pay off in this case.

The second incident was a mildly unpleasant experience with a retail store last month after which I realized that if I don’t think about the bigger picture and the long run, then I might be setting myself up for more experiences similar to this one. The experience in question had to do with the retail store not taking enough care about the little details that really matter (like sales statements and listing of inventory with a clear system for summing up totals, calculating commission, etc). At my own store when I see details left out of the accounts book or the inventory book (yes, it’s still handwritten but we’re going electronic in a month) I freak out and make sure my staff corrects the mistakes immediately. But we do have a system in place and my sales assistants know the importance of maintaining these records for our internal checks. How do businesses manage to grow if they are not picky about these little details? So instead of being impatient to make money and retailing in other cities, I need to do more homework and work with someone who gets the little details in the bigger scheme of things. Plus it doesn't hurt to have some terms and conditions agreed upon in writing.

Now that I finally get this big-picture-little-details logic, I need to figure out a way to keep reminding myself of it.

Conforming to Stand Out

2009-09-10T22:21:00.004+05:30

In the last couple of months I’ve been going through a lot of self-doubt about my brand; wondering if what I want to do is a viable plan, and if there are enough people out there who share my taste. A lot of the feedback I’ve been hearing of late is that my clothes have cuts and styles that are "very young" but in fabrics that are meant for “old people”.

Ouch, right?

But let's set aside how crushed I feel when I see young women try on my clothes and say “it makes me look like I’m forty”. After all I suppose I can look on the bright side and take some strange comfort in the fact that they can see what I am trying to do at Brass Tacks. The whole point at Brass Tacks is to take handwoven fabrics and give them a makeover in the form of tailored, stylish clothing. However if my target customer still feels that the fabrics are making the overall garment look old, then I’ve not succeeded in my design goal.

One lady told me that the designs look “confused” because they are neither for older women (too tailored and fitted with adventurous cuts) nor are they for younger women (“old” colours and fabrics). Well if I have to be either “here” or “there” to make this for-profit model work, then here are my choices:

Plan A: Continue doing what I do with Brass Tacks designs, but also incorporate more mill made fabrics that are easier to care for, less expensive, and most importantly “young looking”. So for example if I am making an evening dresses in cotton khadi and it does relatively well, I might consider repeating it in mill made silk in a popular colour like magenta or turquoise (you know, colours that really pop). This way I will be able to cater to a wider range of tastes without losing the core ideals and fabrics that I love.

Plan B: Very similar to A, except to keep the brand image intact I need to have the less expensive and more mass appeal range of clothing under a different brand name. This will also allow me to monitor more closely which brand attracts more people or if there is an overlap, but in terms of logistics it’s a bit harder to do at the moment.

And while I figure out which plan to go with for my Winter collection, my team is scrambling to put the Monsoon collection together (sans two tailors who have swine flu). We finally managed to get the pattern right for this halter dress that I am making in a black silk with diamond shaped ikat designs. I tried it on today and breathed a sigh of relief, momentarily forgetting my deadlines, the amount of work I have ahead of me in the next 2 weeks, and all the bills I have to pay.

See I’m not confused. I’m just negotiating new territory on my own terms.

Shout Outs

2009-08-28T07:37:00.004+05:30

I never imagined the ways in which running a business would affect the way I think about people interactions and social skills. I’m usually pretty good at exhaling at the end of a day and not taking things people do or say personally, but one thing I am still working on is gratitude: giving it and not expecting it.

There have been a few incidents, since the time I started, when I have bent backwards to make an order or an alteration happen in less than 24 hours, or door delivered garments (for free) without any thanks or acknowledgment from the customer. I know this attitude is not at all conducive to good customer service, but hey, I’m allowed to be human once in a while (and that’s what this blog is for anyway). These gymnastics also affect the way I treat incompetent customer service representatives at other businesses (“if I can bend backwards to make it happen, why can’t you?”), not realizing that their sales staff don’t own their business so the situation is not comparable.

As for my customers, I know they aren’t obliged to give me business, and if good service is what it takes to keep them coming back to my store, then so be it. It’s just that sometimes it’s hard coming to terms with the fact that it takes years to build a good reputation that can be destroyed very quickly if a few people have a bad experience.

In the spirit of thanks and of acknowledging important influences, I want to give a big shout out to Fabindia right here in this blog post. Fabindia is now an amazing empire with over 100 stores in India, and although a lot of people complain about the lack of great service, the lack of standard sizing and the sometimes poor quality, no one gives them credit for what they are really doing. Aside from providing relatively inexpensive traditional crafts, beauty and bath products and organic food products (their chapati atta is pretty good by the way), to me their real service has been cultivating good taste. If you think about how people’s aesthetic taste evolves, their surroundings and their exposure at a young age play a huge role. By making handwoven and printed textiles accessible to a wide range of income groups, Fabindia has reached out to generations of Indians and tourists and made them excited about Indian crafts. In the process, it has also built the foundation for brands like mine that rely on the assumption that Indian women like traditional fabrics. And thanks to Fabindia, many craftsmen still practice their art because they’ve had constant demand for their work from this amazing empire!

Flirting with Lycra

2009-08-19T17:51:00.007+05:30

Geeky blog title I know, but I can explain. A couple of months ago I bought these fabulous cotton pants with a little lycra woven into the fabric. They fit me perfectly and they are so versatile- for hot and cool days, for almost every occasion, and for pretty much every top I own. I love these pants so much that I rarely wear my jeans or my own Brass Tacks linen pants anymore. One evening I washed my pants at night so that I could wear them again the next morning and that’s when I realized there was something strange going on here. As my own brand ambassador, it is hypocritical that I live in trousers that Brass Tacks doesn’t produce?

One of Brass Tacks’ selling points, using only natural fibres, evolved while explaining my brand’s specialty to entrepreneurs and marketing consultants. Many of them liked the idea of natural fabrics because selling yourself as an eco-friendly brand is really in vogue right now. For me using natural fabrics was a given (rather than a choice) because I never wear synthetic fibres, barring the occasional cotton garment with lycra mixed into the weave. The real selling point of my brand, to me, is the marriage of handwoven textiles with a cosmopolitan, tailored look.

I have always maintained that in order to complete an outfit, I may use mill-made fabric (like my linen trousers). So then is it so bad to use a bit of lycra in my trousers to create a more fitted look if it completes an outfit? Some of my kurtas (worn like tunics) and mini-dresses do look best with leggings or really fitted Capri pants- neither of which I make. Also, for my collection photo-shoots I’m forced to pair all my tops, kurtas, and mini-dresses with my linen trousers even though I know some of them would look much better with a fitted pair of pants (I don’t think it’s fair to show an outfit on the website unless it’s 100% Brass Tacks). But the real question here is why am I not making a complete outfit in my own company if I am constantly recommending a pair of leggings or fitted Capri pants to customers who buy my tunics? Would I be letting down my brand, or could using lycra enable me to sell more hand-loom garments? Studies (seconded by my experiences in retail) show that women are more likely to make a purchase if they can buy a complete outfit in the same store.

I used to think I was the only one with a strange waist-hip proportion that made it hard to shop for trousers in India. Talking to my friends and customers has made me realize that there are very few brands that exist in India that retail affordable, well-cut trousers (with or without lycra). This is just more incentive to provide more variety at my store, and add one well-cut pair of cotton trousers and another fitted pair with lycra.

But as you can see I’m a bit torn. I don’t want to get greedy and in the process dilute my brand image. So send in your thoughts and feedback; reassure me or dissuade me.

Above, an example of a tunic that would look better as a complete outfit with fitted pants rather than the looser linen ones shown here.

2nd Birthday

2009-08-14T15:28:00.004+05:30

On August 10th my store turned two. This past year has been amazing in terms of learning experiences, growth and also creativity. I feel I am closer to finding my voice, I’m reaching out to more Brass Tacks customers, and I’m also incorporating suggestions without having to compromise on my creativity. Of course I’ve had some downs – perhaps a couple of downs for every up – but overall I’m really happy with the way things are going, and so grateful to everyone who has helped along the way.

During my sale last year I was surprised to see the overwhelming response; customers trooped in and out throughout the day and on the first day I sold around 40 pieces. Not all those pieces were on sale, which led me to believe that announcing a sale is also a way to remind customers that you exist.

I had a similar experience this year, selling 100 pieces in the first two days of the sale, but now I’m learning more from these sales. I think people are more willing to buy something they consider expensive if they know they can also get great value for money on some other pieces. So someone would rather buy one dress for Rs 2000 along with 2 tops for Rs 500 each, rather than one evening dress for Rs 3000. Intuitively that does make sense, but I just never thought along those lines before. Observing customers in the store is a lot more conducive to understanding their rationale than sitting in front of an excel sheet (which is how I do my pricing).

I’m now ready to try out a pricing experiment with my upcoming Monsoon collection. I want to see how I can spread my production cost across my collection to allow for some garments to be less expensive than others. Before it was an even distribution, but now it will be according to level of complexity. The simpler garments will end up being less expensive, but the more complicated ones with a lot of tailoring details will work out to be more expensive.

Getting back to the sale, things were going too well for that Corporation Shopping Complex (I’m already battling a case with a leakage in the building and no drainage on the street for rain water), so on Tuesday afternoon at 3pm the electricity went off. My inverter carried us through to the end of the day (without the air conditioner though) but all of Wednesday we had no power. One of the power lines had burnt, affecting 5 shops in the building and as luck would have it mine was one of them. The corporation waited for a few hours on Tuesday before declaring that it was too dark to start work that day. On Wednesday they hired electricians and labourers to dig up the road to find the burnt cable, which they finally found at around 6pm that day. Still giddy from Sunday’s sales, I went up to them filled with naïve enthusiasm and asked, “So it will be fixed by tonight, right”?

Electrician: Well now that we’ve found it there’s little left to do. If we don’t finish it tonight then it will take only 30 minutes to complete in the morning.

Me: Great, I’m so glad. We’ve lost out on a lot of sales because of no power today.

Electrician: The thing is, tomorrow is a government holiday, and Independence day is coming up on Saturday, so we were hoping to get a long weekend starting from this evening….

Note: To compensate for days lost without power, after Independence day on Saturday (we will be closed on August 15th), we will continue with the sale for another week.

All I really do

2009-08-06T19:52:00.003+05:30

I got back from my high school reunion on Monday night with a sore throat and twelve hours of sleep over 3 nights and 3 days. I had a fabulous time meeting with old friends who I haven’t seen in ages and also getting to know classmates I didn’t know so well before, but who are doing interesting things with their lives. That weekend was also the first time I didn’t have the urge to check email (although I did keep going back to the one spot on campus where my cell had reception to check on the store). I enjoyed the beautiful weather, wet my hair in the rain, and walked up a little hill in the slush to watch sunrise after staying awake all night. My husband, who had accompanied me, wanted to know who I had turned into, and if I could continue to be the “new Anaka” once we got back to Chennai as well.

The truth is, once I get into my routine with work I tend to get so serious about everything. Every small detail gets blown out of proportion in my head, and the lack of an office environment with colleagues doesn’t help either because it means I don’t have anyone to show me another perspective. Last night I spoke to an old friend I’ve known since 3rd grade and she said she hasn’t heard me sound so relaxed in three years!

Well don’t get me wrong, I really love my job and I find the work that I do both fun and stimulating, but it can get really exhausting. Very often I feel like how I imagine a single parent might feel with all the responsibility of raising a child but no time to really savour and enjoy the special moments (no offense to mothers with human babies- just that I often think of Brass Tacks as my baby). This isn’t the first time I’ve realized this about myself; other holidays and my honeymoon have shown me that I am more creative when I’m relaxed. I try to incorporate relaxing activities into my everyday life all the time (my latest is making sure I always have a great book to read and I find it’s the best thing to do when I’m worried about something that’s not completely in my control) but sustaining that “relaxed feeling” is the hard part.

Right now I’m behind schedule with ordering fabric for my winter collection, my bank balance is really low, and I’m worried about the sluggish sales at my retail section in Hyderabad. The difference, however, is that right now I’m able to take things in my stride and get work done without letting the stress get to me. In a week or two when this wears off I will be pulling my hair out and secretly wishing I had a “normal” job (i.e. a steady salary!).

My new mid-year resolution is to do whatever it takes to sustain that relaxed feeling. That doesn’t mean working a lot less, it just means staying relaxed mentally (and potentially getting more work done in less time as a result) and remembering that I’m in this for the fun of it more than anything else. And hey, at this point things can only get better as I start earning a decent salary right?

Waiting and Watching

2009-07-17T07:39:00.003+05:30

Last week has been exhausting with my launch at Daaram and then a busy week here in Chennai without a break. But it has been worth it and I feel as if I’ve learned a thing or two about myself as well as about Brass Tacks.

Daaram pulls in an interesting crowd. The store is very particular that they retail only handloom products so rather than sharing a common socio-economic background, their customers share a common interest. Having said that, the look and a price of a product does determine your market, and Daaram’s clothes are very straightforward and their prices are low (tops start at Rs 250 and their most expensive kurta is Rs 1100).

The really great thing for me is that the store has a lot of people walking in everyday, and by sheer numbers even if a few of them are interested in Brass Tacks, that’s a good start for me. The feedback I got from many customers was indicative that Daaram and I are yet to reach out to the kind of person who will wear Brass Tacks. Many of the women felt the clothes were “too western” (the tops were too short- i.e. not covering the hip like a kurti), too many of them were sleeveless, or the prices were too high. Still, there were quite a few young women who came in, tried on many pieces and bought a few.

At first my expectations were really high (note to self: stop doing that!) but by the last day I had gone to the other extreme, feeling really skeptical about things sales picking up. I had to remind myself that things were not so different at my own store when I started out. The partners at Daaram seem very confident that Brass Tacks will do well and that there is a demand for that genre of clothing. It’s just a question of time and reaching out to the kind of people who are into tailored clothing with interesting (and sometimes quirky) details. And so much for creating such a strong distinction between a Daaram and a Brass Tacks customer- many women were happy to buy both, which means I am still figuring out who my customer is.

Another interesting thing I noticed is that being surrounded by so much handwoven fabric in subtle colours made me think about designs that are a bit…well, less tailored than the usual Brass Tacks look. I often get inspiration for designs from the fabric itself, and mill made fabrics or handwoven fabrics in mercerized cotton lend themselves very well to crisp, tailored, fitted clothing. But the soft, dull yarn in the fabrics at Daaram made me think of design ideas for shapely but still flowy styles. I’ve ordered some khadi yardage for those styles and hopefully those ideas in my head will evolve into something tangible for my Winter Collection.

Below, some pictures of the Brass Tacks corner at Daaram:

Hyderabad, Show Me Love

2009-07-07T23:27:00.004+05:30

For the last 8 months I’ve been working on a project that I am really excited about. It all began around a year ago when I met with the owners of Daaram, a store in Hyderabad, and they expressed an interest in retailing my brand there. Daaram is run by Dastkar Andhra, a non-profit dedicated to promoting handloom fabric, and because of our common passion we immediately got along. Latha, one of the partners at Daaram, seemed really keen on working with me because she felt that I could give her team of designers ideas on what kinds of handloom fabrics would work well for contemporary silhouettes; in the long run that kind of input will help handloom weavers compete with powerloom and mill made fabric suppliers.

In the last 6 months, while working on my Summer and upcoming Monsoon collections, the design team at Dastkar Andhra has been really patient with changing colours, fabric construction and weaves to suit my tastes. I often place orders asking, “Can you make yardage with fabric construction from A, the colours from B but change the green lines to the blue shade from fabric C”. Luckily for me, they oblige me whenever they can (there are rare exceptions like when the weavers of Muramunda refuse to weave in anything but Kora).

So this Thursday, on July 9th, Brass Tacks will launch in Hyderabad at Daaram. I’m nervous about the response, excited to reach out to more people, but mostly thrilled to have this opportunity so early in my business.

Chasing After Suppliers

2009-07-01T12:30:00.003+05:30

I have never really understood why suppliers have a pricey approach to their customers. I am talking about weavers, printers, tie-dyers and large textile cooperatives who promise to send swatches so I can place an order but never live up to their words. You could just chalk it down to a cultural difference or disorganization, but it’s at a higher level too. I met an urban educated manager of a large non-profit set up to promote handloom fabric at a craft exhibition in February and only after incessant emails and phone calls did I finally get some swatches (gorgeous ones, however) last week.

What is sometimes frustrating is that I try to do whatever it takes to keep my customers happy (like driving to a customer’s house to deliver her urgent alteration on Christmas day) but very few suppliers think of their clients as customers who are giving them business. I tell my sales staff that we have to be polite to every customer, even if we know some are bigger shoppers and others are just window shoppers. It is the opportunity that a window shopper today will buy something for herself tomorrow that we don’t want to lose out on. Plus, I want everyone who comes to my store to have a pleasant experience; it’s just not nice to discriminate.

With fabric suppliers I have to call and introduce myself to ask for swatches (sample cuttings), follow up with a text message (sms) to tell them my office address, call again a few days later to remind them, and so on. At first I used to think it’s because they knew my order quantities would eventually be small, which means I was less important than some of their bigger buyers, but recently while talking to a manager of a large cooperative I made sure I didn’t mention my order quantities. Perhaps they are heavily understaffed and have no one else to pass the job onto. But if that is the case -and I empathize completely- wouldn’t it be easier to be up front about it rather than ignoring emails or saying the swatches will be sent the next day?

There are exceptions to the rule (Eco-Tasar in Delhi is run very professionally) and there is an interesting pattern I am seeing in these suppliers with service inertia. Very often I have found that the suppliers who took ages to send me swatches are the ones who had the more interesting textile designs and better quality work. For example, after 8 months of calling my cut-work supplier in Varanasi and pestering him with text messages, I received some beautiful swatches the other day (pics below). This means that with a little thick skin and persistence, it is possible to get to the good stuff.

Cut-work swatches from Prabha Traders (more delicate and flowery than my usual favourites, but beautiful nevertheless).

It's an Acquired Taste

2009-06-17T22:07:00.005+05:30

I know that I cater to a very niche market through Brass Tacks, but sometimes I worry that within that niche my personal favourites probably cater to just a handful. This isn’t to say I don’t like everything I design; it just means that I’m aware of my taste and my tendency to choose fabrics that are not necessarily popular.

I’ve known this for a while, especially with my love for checks and stripes. I have used these fabrics before, but I’m always hesitant and I carefully pick the ones that I think will have universal appeal.

Recently I’ve been feeling a lot more strongly about my passion for traditional checks. Why should I choose only the checks that cater to a wide audience- isn’t part of creating a brand image having a distinct point of view and taking a few risks? A conversation I had with one of my customers the other day made me realize that if I spend too much energy focusing on what will sell really well, I might lose touch with my inspiration, thereby losing the point of view I set out to show. This customer (she’s a textile designer) was there to talk to the host of a show on NDTV-Hindu* about my store, and she told me that while she loves the fact that I use soft, thin cotton that crushes, she probably shouldn’t say that on TV because most people dislike that about cotton. Hearing her say that reminded me of a look that I too love. Sometimes I get so wrapped up trying to change the associations people have of traditional textiles in order to create something that is cosmopolitan, urban and marketable, that I forget (or push aside) what I love. Soft, thin cotton that crushes at your elbows and knees has a certain old world charm to it that I love. It’s natural in a very honest way unlike stiff, starched cotton or poly-cotton blends. Those may not crinkle, but they lack soul.

A huge focus at Brass Tacks is to take handloom fabric, and re-articulate them as modern silhouettes. It’s not enough to think about how a fabric may feel, or how a style may look. The final combination of fabric, silhouette, drape and tailoring forms a product that will trigger certain associations for customers. It’s my personal opinion that there are many women in India who feel that khadi, crushed cotton, and other traditional textiles are frumpy or old-school in a very unfashionable way. Especially when it comes to woven textiles, the traditional checks are not popular because ...well, I really don’t know why. Maybe not enough high-end designers make it look glamorous in the way that they make embroidery and sequins on chiffon silk look glamorous? A lot of textile magazines and books that I read lead me to believe that our traditional checks would be really popular in Europe and the pockets of the US and Japan, and maybe that’s because their associations of that fabric are different.

Recently I went through my mother’s collection of old Kanjeevaram sarees and I’m in love with them. The stripes and checks are amazing; with colour combinations I would never have imagined would look so stunning. I’m determined to use textiles inspired by these designs, but apparently no weaver in Kanjeevaram will weave cotton yardage anymore. That’s not my main problem though: the toughest challenge at hand is to design styles with these textiles, while staying true to the design aesthetic of these stripes and checks. Below are a few photos from my mother’s collection.

*The shoot at my store was for a show on NDTV-Hindu, and will air in about a month. I am so thankful to everyone who came over that day and spent so much time helping out. Really, I was touched to see how many people came and patiently waited for camera time.

Controversial Transparency

2009-06-09T23:22:00.004+05:30

I’ve been thinking a lot about my pricing lately. When I think about the amount of effort that goes into finalizing a style, the time spent in tailoring, and the expense in experimenting with different colours and fabrics, I think my prices are too low. But then, I never wanted my brand to be in that high-end and almost unaffordable league, so I guess it’s up to me to be smart about my fabric and tailoring choices to deliver a unique product that’s still affordable.

The definition of affordable, however, varies from person to person and from income to income. I understand that completely- we all have different reference points after all- but what does upset me is when people cannot imagine why my garments would cost as much as they do (my prices range from Rs 800 to Rs 2,600). This post is my attempt to explain why a well-tailored garment made from handwoven, natural fabric cannot be sold for cheap. Well, at least not be yesteryear's standards of cheap.

Most designers follow a simple equation to help them price a garment. There are more complicated ways of doing this by taking into account hidden costs such as rent, sales staff salaries, etc, and some designers have a wholesale price and a retail price but at its basic level, this is the standard equation.

Cost * Profit Margin = Price

Usually, only direct costs are taken into account. This includes the cost of fabric, notions (buttons, thread, zips), and tailoring charges. Let’s take a look at each of these direct costs.

Fabric: It’s no secret that natural fabrics are more expensive than synthetic fabrics. Add to that the process of small scale yarn dyeing, and weaving- that’s a lot of skilled labour right there! Many people seem to be under the impression that labour in India is still really cheap and that handwoven fabric should not be that expensive. The farmers and weavers who work for cheap can’t survive with today’s standard of living; has no one read the news stories about farmers and weavers in Andhra committing suicide? Just so that everyone is on the same page (and in the same decade), here are some figures to get you up to speed on what quality labour costs these days.

One metre of handwoven cotton can cost anything between Rs 80 to as much as Rs 450 per metre. This is dependent on the quality of yarn, the amount of yarn, and the tie-dying work done on the yarn (ikat is obviously more expensive because of the labour involved before the weaving itself). Additional textile crafts like extra weft (jamdaani) weaving add to the cost.
If the cotton is real khadi (and by real khadi, I mean the yarn should have been spun by hand) and handwoven, then it can cost anything between Rs 150 to Rs 350 per metre. I know, it’s such a steal it’s not even funny.

Handwoven silk can cost anything between Rs 200 to Rs 800 per metre. This is dependent on the weight of silk, the quality and type of silk, and special weaving techniques like jamdani or ikat.

Tailoring cost: A really good tailor can cost anything between Rs 6,000 to Rs 8,000 per month. A good tailor has control over a sewing machine, can give you a good finish with concealed zips, darts, and French seams, and he knows how to change the machine tension according the fabric so that you don’t have a beautiful satin silk garment puckering at every seam.

Oh, and even a good tailor can take up to half a day to tailor one garment if that garment has a lot of darts and pin-tucks or pleats.

A good pattern maker (and it is the pattern maker, not the tailor who decides the fit of the garment) can cost anything between Rs 12,000 to Rs 30,000 per month. I’ll say less about this because clearly there are pattern makers and there are pattern makers. This cost really depends on what kind of garments you want to make and how much time and effort the designer spends explaining her vision, concept and style.

A good cutter (whose job, literally, is to cut out fabric in the shape of paper patterns that the pattern maker generates) can cost anything between Rs 6,000 and Rs 10,000 per month.

Notions: Invisible YKK zips cost anything between Rs 35 to Rs 90 per zip, depending on the length. Shell buttons cost anything between Rs 3 to Rs 20 per button, depending on the type and size.

Now that’s a lot of information to help anyone figure out how much it costs to make a range of garments in cotton and silk. And these are only the costs for the direct input into each garment, mind you. Not factored into the direct costs are the time spent finalizing a pattern from sketch to final product, the time spent grading patterns to different sizes, the production manager’s time spent making sure everything gets done in time and without tailoring errors, sales staff salaries, rent, electricity, phone, and of course the cost of machinery.

Yeah, don’t even get me started on the hidden costs of running a business.

Active Listening

2009-06-04T15:37:00.003+05:30

I remember when we learned active listening in college I dismissed it as an annoying paraphrase of what the other person is saying. But of late I’ve been putting more thought into it and I’ve found its use in retail, especially with customer feedback. There have been several instances when customers would tell me how I should have designed something. “This top would have looked much better with sleeves”, or “this is too loose on top- shouldn’t it be as fitted as the hip band?” are the kind of feedback that usually result in me gritting my teeth and saying “Hmm…. you think?” Inside, I quell my defensive thoughts quietly.

But my long drives to work every morning while listening to Tamil radio have got me thinking, and I think it would really benefit me to indulge in some active listening, or in this case, active thinking. A customer who tells me certain styles would look better with sleeves might be her way of saying that she doesn’t like wearing sleeveless clothes. And for customers who don’t like styles with a different silhouette (“Bishop Shirt” is meant to be looser on top and fitted at the hip) – I can just recommend styles with a regular, more fitted all around shape. The whole exercise when put to practice is a lot of fun; I get to recommend stuff that those customers actually like (and sometimes buy), and I also get to understand my customers' taste.

There are, however, times when it is nearly impossible to practice active listening. I have to fight extra hard when customers tell me my prices are too high. The way feedback is phrased has such a big impact on how well it is received. I don’t respond very well to “don’t you think your prices are too high”? Why would I think so - I’m the one who priced them! I know, I know, what they are really telling me is that a regular cotton top, in their opinion, shouldn’t cost that much. That’s when I slip into polite teacher mode, and give them a brief lesson on the labour costs involved in handloom, apologizing profusely for the standard of living costs these days. You get the point, right? Pricing is a sensitive issue, but the active listening task does prevent my arteries from clogging.

A time I really wished I had been more aware of my thought process was when a photographer came in to take pictures of me in my store last week (it was for a newspaper article and the journalist spoke to me over the phone). The photographer told me, almost right after introducing himself, that my shoes were too plain and that I needed some make-up. I should have just smiled and told him that I wasn’t prepared for something more glamorous while we wrapped up the shoot quickly. Instead I allowed myself to get worked up and then I couldn’t smile for a single shot.

My next step is to try and incorporate active listening with my staff. Often when I tell them what areas they need to work on, I’m not very understanding of their explanations (I tend to see the explanations as excuses). Perhaps they are trying to tell me something- something I can do to help them achieve the goals I’ve set for them.

Staying Motivated for Others

2009-05-26T14:07:00.002+05:30

A few months ago when I had contacted a recruitment agency to hire more sales staff, I had an interesting conversation with the woman who runs the agency. I was describing the kind of person I wanted to hire for the position of a sales manager and I said that aside from speaking English reasonably well, and having a sense of customer service, the candidate needs to be a motivated person who wants to move ahead in her career. The woman replied saying that most people are used to just taking orders rather than thinking for themselves and taking initiative. I feel that is so true of many people, at a variety of levels. Most of us settle into a comfort zone and a kind of complacency where we are just doing our everyday tasks without striving for more. I know that I too am often guilty of this. I go through my phases of high motivation levels, but I tend to burn myself out and then spend so much time recovering that I may as well have done things at a steady pace in the first place. But what is it that helps people to stay motivated?

When I quit my job in New York a few years ago to intern for two designers, I worked for free and used up all my savings. As a general rule I think unpaid internships are a bad idea- I think hard working people need to be rewarded in some way- but for me it was an opportunity to do something in fashion, a field that I knew so little about, and get some exposure before I moved back to Chennai and started my own company. That fact that I didn’t get paid for my work didn’t affect my level of motivation, but what did help was being around highly motivated and driven people (and when my managers weren’t motivated, it definitely set a more laid-back atmosphere that I would imbibe).

I think about Brass Tacks pretty much all the time, awake or asleep. Sometimes I am tired but do my work anyway because I “have to”, and at other times I am really motivated and positive, and do my work with enthusiasm. At all times however, my goal is very clear to me (that I need to put in this effort in order to reach the next step).

Lately, I’ve not been feeling very motivated. The long drives to work, the slow activity at the store, and just the relentless amounts of work have left me feeling a bit frustrated, tired and unmotivated. At times like these I really miss being in an environment where I am surrounded by highly motivated people who are passionate about what they do. If I feel this way about my own business, I can only imagine how my sales staff feel on days when few customers walk into the store. So perhaps it all boils down to how motivated I am, because the energy that I exude does affect my surroundings. I need to spend more time at the store (rather than in the comfort of my home office) to create a stimulating work environment for them. And since there is a high turnover rate with sales staff, there really is no permanent solution to this.

Pushing Creative Boundaries

2009-05-18T21:39:00.008+05:30

I recently wrote to a fashion critic asking for feedback and thoughts about my brand and my designs. I was pleasantly surprised to receive a reply within a couple of days, but it took a while for his feedback to sink in. He said that I needed to push myself and do something that is not just different, but completely revolutionary.

Not to get defensive, but when you make clothes that have semi mass-appeal, it's hard to be revolutionary. I came into this business for my love of textiles, so part of my goal is to work towards ordering larger volumes from weavers (so that they will be more receptive to working on quality and experimenting with different fabric constructions). To order larger volumes I have to make more garments, so even though my clothes are not as mass-market as a store in a mall, I do want the clothes to cater to a relatively large niche. My point is that when you try to make clothes that are not highly exclusive, it is difficult to be revolutionary. The fashion critic is trying to tell me, I think, that only if I do something revolutionary will I get noticed and create that buzz that gets many people talking about my store.

After my initial reaction ("Of course I am doing something revolutionary! Who else uses beautiful fabrics to make such well-cut clothes at affordable prices?") I realized that he did have a point. Unless someone were to really engage with the garments, feel the fabric, try them on to appreciate the fit and the feel of soft fabrics against skin, it is difficult to understand how special they are. It is true that many women walk into my store and ask me why the prices are so high for cotton clothing. Should I focus more on the visual aspect of my garments; make sure they are visually distinct in some way that is easily (and immediately) noticeable?

Still, I'm a bit confused. There have been styles that are less conventional like Kolam Kurta and Marsupium (pics below), but while Kolam Kurta flew off the shelves I noticed that Marsupium was bought mostly by women who live abroad. In my latest collection, Pastry Layers is my most unconventional style. It remains to be seen how much attention it attracts.

The challenge ahead of me is to be more unconventional (and perhaps revolutionary!) without forgetting my target customer. The first step in that direction is being creative at the fabric stage, so I need to choose my fabrics for future collections really carefully. Good timing, as I'm in the process of finalizing my Monsoon Collection fabrics this week.

Summer 2009: Weightlessness

2009-05-08T09:11:00.008+05:30

Last week on May 1st, we had our photo-shoot for my summer 2009 collection. As I had mentioned in an earlier post, the theme I wanted to convey through the shoot was a feeling of weightlessness (lightness) that the garments in this collection have. Let me clarify right away lest there be any confusion, that this collection is not all about making women looking thin. The weightlessness is more a state of mind that you experience when you wear these clothes that help you feel light and cool during muggy, hot weather.

I’ve been thinking about this shoot for many months because there are so many images that are conceptually interesting for a theme like “weightlessness”. Unfortunately most of the ones I loved were impossible to execute. My favourite was an image of a model holding onto a creeper or a thin tree, with her legs off the ground and away from the tree- as if she is being blown away by the wind. The idea is she’s so light that she could get blown away if she wasn’t holding the creeper for support.

Okay, so maybe that was a bit complicated! Anyway, limited by logistics and my budget, I went in search of a trampoline and below are some of the shots my photographer took. I went to a shady film set rental place to get the trampoline, but in the end we couldn’t use it on the beach- the one near my parents’ house was too crowded (May 1st was a holiday) and the beach we finally went to was a 15 minute drive away but the trampoline didn’t fit in the car. The model offered to jump off a stool at the beach, so that's what we had her do (thank you, Mandira)! We used the trampoline for the one on the roof with the tree tops in the background, and just a fan for the “Pastry Layers” top with the panels blowing in the wind.

I can’t decide if the beach shots look better with the sand or without. Thoughts? I also wanted to find dandelions so that we could have them floating in the air alongside the model, but I didn’t have any luck with that.

On the beach:

On the rooftop, with raintrees just behind the model:

On the rooftop at 7pm: