China Upholstery fabric

Cheers!The writer is an interior designer and director at Sugar My Space, Studio SMS.Throwback to the times when we grew up draping on sheets around the furniture and making ourselves a cozy, warm teepee while pretending to play mom and pop. Flowing fabric on the walls or ceiling and perhaps silk shades for custom-made lamps are great ways to quirk it up while keeping the place stylish. Not many expect to see a boat on the roofing, so that stands to exact some oohs for certain. Most times in life and love!Flip it on its head when it comes to your private spaces too.My all-time favourite in wall finishes remains the quintessentially elegant, untreated, exposed brick and concrete walls. Or splash onto the headboard or the droplights to quirk up the space without it looking like you just returned with your kill from the savannah! Avoid making your home look like a souvenir store! Or a pet store for that matter!! So do it with finesse and don&China printed velvet manufacturers39;t hesitate to run it by someone that may give you an honest opinion. Personally, they ought to be restricted to clothing only, and with much discretion.Things often happen by accident rather than by design. They lend a genteel touch to the surroundings. Stay tuned for more as we roll out the design rug over many more brews… help is here before you commit headlong to misadventure with your space. Scandi Chic in warm pines and monochromatic tones will stage the rage forever. But go primitive if you will, with caution, with perhaps quirky frames around motley feral prints.. Find fantasy in quirky themes for wall frames… if its geisha prints then go cherry blossoms and pencils sketches in funky backgrounds and frame them over the stretch., paints, texturing, highlights and lighting to give them pizzazz.

Having said that, often intended design does look like the casualty it was meant to avert!Helping customers translate their fantasies into design reality is always a challenge and one that is most exciting to a designer. Quirk it up with throws, pillows, rugs and the shimmer of brass or copper for the pop.As requests go, they do take on a life of their own with the extraordinary overtures. # Graduating finishes and colours and textures to keeps it basic and artistic. The classic white and black combo is here to stay. But, quirk managed well can be just as inviting and pleasing. They are uber quirky. There was something reassuring about the hurriedly assembled wigwam, that felt toasty and intriguing, even mysterious to welcome our puerile capers.For more chic and cheeky, bring back the traditional Oonjal, with a twist. But as a designer, one unabashedly refrains from going the whole hog with the unusual requests, only after debunking some whims and homing in on universal truths. While there may be rule books that iterate the importance of order in spaces, nowhere does it say that spaces can’t be snug and safe with layered floor rugs, throws and cushions and perhaps a gorgeous canopy around your favourite armchair in your bedchamber, to provide the غير مجاز مي باشدiest of nooks.Canoe on the ceiling with pendant lights suspended from it for extra oomph and swag.

As with many things, turning things about does give one a new perspective.Animal motifs are a horror. Delightfully, life in monochrome is an oft-requested theme. Quirk it up with unique beaded links instead of the usual metal chain and soften edges with basic upholstery perhaps with a coat of paint to make it a cozy spot to curl up in.Another successful breakaway is with the likes of a buttoned down French-style footstool and a chic brass and glass coffee table or a classic chesterfield with a stylish bookshelf. Restored period furniture, with a coat of varnish or paint with Athangudi tiles nestled in the gaps; or place an old pillar wedged with colourful tiled sections, in an opened up doorway to create a partition with a quirky difference.Go Andy Warhol on tiles! Or substitute with handmade floral or a line-drawing collection of Athangudi tiles.“I’m a designer, and I think if you work in fashion, you have to give people fantasy,” said the famed Christian Louboutin. It needn’t have to conjure up images of over-the-top goth or an unsavoury visual from Fifty Shades of Grey! If that is your intent, then so be it.We have barely made a dent in the scope of quirk in design. Quirk is decidedly fun, if handled with elan. Never going out of style. Cluster it up or align along the bow with trimmings along the edges with fairy lights to quirk up the room. The perfect meld of fantasies with the natural order of life must be maintained at all times. The indoor swing from yesteryear’s in rose and teak wood with brass chains, adds comfort and elegance to any space. My personal take, monochrome never ceases to please. With oodles to play with viz.Walls lends themselves as canvases to etch along memories. To add to that mystique, thread on silken linen strips in lieu of tacky bead curtains and boho the heck out of the place, albeit snazzily

To help promote local artisans and weavers across the country, an exhibition here seeks to encourage larger use of khadi — a fabric that has transformed from being a symbol of India’s freedom struggle to become a style statement.Titled ‘The Khadi March: Just Five Meters’, the solo show by Shelly Jyoti at India Habitat Centre here underlines the importance of ‘khadi’ portraying the fabric as a mark of self-purification, self-reliance and independence.“The show is a call to action that challenges people who live in urban cities to grant dignity to the rural brethren and to rethink our engagement with the spinners, weavers and people who work with handicrafts in the villages. “It is designed to be a study for those who want to understand what the khadi movement stands textile online for, and what it has been able to do,” says Jyoti.

According to the artist, following Mahatma Gandhi’s proposition of buying ‘five yards of khadi’ each, India’s urban population can transform the lives of rural artisans and enrich their livelihoods.“Five meters of cloth is an individual’s necessity to cover themselves. So, I wanted to explore the 300 million urban population for whom buying just 5 meters of khadi is not a big thing but their efforts can change the life of millions in the rural areas,” she says.One of the installations, titled ‘The Yarn Wheel’, has been made up of 1,000 hand-spun cotton yarns to capture the meditative process of spinning the wheel in stark contrast to machine-made thread.Jyoti has worked extensively with Ajrakh artisans from Kutch and with kantha embroiderers from West Bengal for the show that features several khadi installations, 20 Ajrakh textile artworks, a multi-media spoken poetry art and a documentary on Ajrakh textile process.“While working with those who have inherited these textile traditions and are passing them on to the next generations, I have been able to see through the critical relationship between an artisan as a creator and an artist as a visualiser,” she says.Using khadi as the ground for processes of traditional dyeing and embroidery, Jyoti’s images employ symbolic forms with decorated surfaces to highlight aspects of India’s long and complex history.“Khadi is such an eco-friendly, comfortable and vibrant fabric.

It can become a fabric from our freedom struggle to a fashion statement in the present world,” she says.Utilising printing blocks that are 200 to 300 years old, Jyoti says her individual pieces draw attention to a shared history whose preservation is currently threatened by the forces of globalisation.The traditional Bengali art form of Kantha Stitch also finds place in some of her creations. She explores the creative space of women in Bengal who have migrated to northern India in the past decade.“I engage these women to give them small jobs and explore their inherent talent. Running stitches also have a decorative and aesthetic appeal,” she says.The artist was also part of a recent event organised by Yes Institute at Bikaner House in New Delhi.Titled ‘Poetics of Khadi: Cutting across Time and space’, the discussion focused on the “idea of khadi as a visual expression of national identity.”“I am trying to explore the role of clothing in a movement of social change, while exploring khadi as a commodity in 21st century to give spinners and weavers a more organised source of livelihood,” she says.

Delicate, sheer and lustrous, chanderi is the choice of fabric this season for many designers who are reprising it in diverse variations — from earthy glam to chic simplicity Characterised by its weightlessness, sheer texture and fine luxurious feel, chanderi has been ruling the runways at the ongoing Amazon India Fashion Week Spring Summer 2017. Along with that several other powerful looms from around different corners of India are grabbing attention too. The fabric (chanderi) is produced by weaving in silk and golden zari in the traditional cotton yarn that results in the creation of the shimmering texture and can be classified into three types — chanderi silk cotton, pure silk and chanderi cotton.Talking about this surge in love for handlooms, designer Paromita Banerjee says, “I think people are fed up with fast fashion and its end products. They want something they can cherish, and know for a fact was made with utmost care, nurture and attention.

People are in love with hand-made things these days as it showcases the power and beauty of fashion created by human hands.” Designer Shruti Sancheti agrees, “The phrase ‘made by hand’ always signifies something personal for us. People want to know products that are painstakingly created over months with the best of materials.” Ace designer Krishna Mehta, on the other hand, shares that this rise (in popularity) is a sign of unity and right timing. “The government is working towards promoting Indian handlooms, the younger lot is far keener on wearing or rather flaunting hand-made pieces and this, in turn, has empowered and triggered a fire among designers to create and envision handlooms in different avatars. The current phase of fashion is more or less like the making of a good, delicious dish: with all the right ingredients, in right proportions, and right timing.”Sheer texture is a feature of chanderi that differentiates it from other textiles produced across India. The transparency of this fabric is because of the use of single flature quality of yarn. When glue of a raw yarn is not separated from it, the non-degumming renders a shine and transparency to the finished fabric which produces a flature yarn.

As for the bootis or motifs, they are handwoven with the use of needles. Separate needles are used to create different motifs.“If we spoke about handlooms 10 years ago nobody would have believed that handwoven outfits can be so stunningly simple and light. This fabric is highly versatile,” Paromita shares, adding, “Now you can see it everywhere, from s******ts, soft culottes and a blazer shrugged famous velvet factory over palazzo pants to elegant dresses, chanderi has been reprised in several different variations.” Designer Anita Dongre says the intention behind all her designs has been to popularise the versatility of traditional fabrics, and she is happy that this time she has experimented with chanderi. Dongre adds that chanderi, though delicate and soft, can take the hardness of embroidery and gotta-patti well to its stride, unlike many other handlooms. “From my own collection, there’s one jacket which is embroidered in gotta-patti but in a modern manner, then there are gold s******ts in chanderi, versatile separates, chanderi jackets which one can be worn with a pair of jeans to dress it up or dress it down, etc. So you can see how one can be experimental with this fabric, which is stronger than it looks.”While Paromita quips that chanderi is high-maintenance but worth the time and effort, designer Shruti Sancheti suggests, “Wrapping up all your handlooms in mulmul helps a great deal.”

Fashion has always been about experimentation and customisation — from fabrics and colours to prints and cuts. And currently riding a big wave of popularity is a blend of digital prints and traditional embellishment.Siddartha Tytler is one of the pioneers of infusing digital prints with traditional embellishments. From infusing interesting prints such as snakeskin with textured fabrics like pinstripes and checks to net overlay, laser-cut work with crystal embellishments, he has done it all. Talking about the trend he says, “Digital printing has been with us for sometime now. But it all depends on how one interprets it every season. This season our prints were very basic, with an ombre effect — so instead of usingdyes we used digital printing.”Being in the industry for around 18 years now, Tytler has done numerous experiments with design. “We have tried and tested, at times failed but with time we have learnt how to balance the look. If the prints are heavy, the embellishments are light, and if the print is light, we embellish the print.”Creation by Eshaa AmiinDesigner Payal Jain strongly feels that today’s fashion consumer is extremely discerning as far as current trends are concerned, and also appreciates Indian textiles and crafts.

“The current trend followed by most fashion brands of fusing modern prints and motifs with traditional embroidery techniques stems from this consumer preference and consequently, provides the youth of today with fashion that is contemporary as well as rooted in tradition, maintaining a balance between the old and new, modern and traditional, East and West.”Technology plays a very strong part in fashion. 3D and now chinese fabric 4D printing is taking the fashion world by storm and making a huge statement. “Anything is possible with this printing technique and everything conceivable can be interpreted on fabric,” says Jain, who sees it as a boon for designers and creative people who live through their imagination and usually face problems converting these visions into reality — 3D and 4D printing are removing these road blocks and have made it easy to convert the most bizarre ideas into form. “Laser printing also allows a lot of experimentation for designers to work with multiple layers and dimensions, surface ornamentation and fabric treatments, which are an exciting new addition to the fashion repertoire for today’s consumer.”Adding to it غير مجاز مي باشدgar Mehra, creative director at Sunil Mehra, says, “Precise cuts in fabric through laser brings out clean, accurate and clear cut designs. The technique lessens the time-consuming handwork to quick and delicate designs through machineries.”And there is a lot more that tech is bringing to fashion. “We are getting fabric which cools off and heats up according to the body and environment around it.

However, this is just a concept and the process of commercialisation is yet to start. We designers are like children, we like new toys to play with. One does not necessarily have to be stuck to old and boring concepts. You need to move on with time, otherwise it doesn’t take much time to be forgotten,” adds Tytler.While technology introduces new trends, tradition is maintained by handmade embroideries and traditional art of dyeing. So, is there any fear of tech overpowering the traditional roots? “With technology entering the fashion space, there is no fear of losing the traditional touch. As the economists say — lesser the supply, more the demand, and vice versa. It also depends on the brand ideology — some brands choose to work with craftsmanship only while some choose to work with both. Either way, as long as the demand persists, there is no fear of losing traditional touch,” says Mehra.Creation by Siddartha Tytler“Our strength as Indian designers will always be our rich heritage and textile legacy, if we lose that, we would lose our identity,” asserts Jain. “The world comes to India for our craft, textile, printing traditions and embroidery techniques, we cannot forget those and ape the West because I truly believe that’s what sets us apart from them and brings buyers to us. If they simply wanted digital prints, there are enough creative resources available to them in their own countries, why would they need to come to India?”

If one can carry an outfit with confidence, they will look stylish no matter what.Dolly Sidhwani: Have to agree with Bhavana entirely on this, to add can’t get enough of Isabel Marant this season.Dolly Sidhwani: I shouldn’t even mention it.13.Dolly Sidhwani: White shirt, ripped jeans & a pretty black dress. I think wardrobe essentials keep changing as per your personality and experiences.7. The most common fashion mistakes desi women makeNandita Mahtani: Personally I really do not like very tight or body-hugging styles.Dolly Sidhwani: A pretty short red dress & heels. Your perfect look for a date night with your partnerBhavana Pandey: A nice, stylish top with well-fitted jeans & wedges.Nandita Mahtani: I like to keep things minimal, can’t-do without my simple necklaces.1.Nandita Mahtani: Don’t necessarily love wearing pearls, but it is definitely a huge trend this season!10.Bhavana Pandey: I’d like to think I’ve had none!Nandita Mahtani: Hoping to never make one.14. Your idea of dressing ***y: legs, cleavage or both?Bhavana Pandey: I think it’ll be legs for all three of us!15.Dolly Sidhwani: Heavy Indian jewellery, chunky/ethnic earrings & rings with very western silhouettes is a big NO for me. The one fashion trend that you would never follow?Dolly Sidhwani: I love trends so I really enjoy experimenting with my looks and trying new things.Nandita Mahtani: For me, age doesn’t define fashion at all, it’s not something you necessarily think of when meeting a person but someone’s body type is definitely a big influence.9.Bhavana Pandey: Carriage is style.4. Who are your favourite Indian and international designers?Bhavana Pandey: Other than Nandi, who is also the fashion director at our brand, I absolutely love Monisha Jaisingh’s sense of fashion. How do you define style?Nandita Mahtani: Style to me is simple, minimalistic and elegant. It tends to end up looking more silly than stylish.

I think most people can’t carry it off unless they have a drop dead stunning body!Bhavana Pandey: I think fusion styling works very rarely.40’s your wardrobe has a cool mix of modern, trendy & classic styles. I may love a certain outfit but if it doesn’t fit correctly or accentuate my body type, no matter how beautiful the style, it wouldn’t work for me. On the other hand, whether we like it or not, one’s body type can make all the difference. Are you a slave to high end brands, or happy to mix and match?So happy to mix and match, that we started our own high street label.One fashion disaster that you would never repeat. It’s a line to cross over & most of the times, no one really gets it right.Bhavana Pandey: I love being comfortable so it has to be a lovely shirtdress & wedges. Well fitted jeans, basic tees, a LBD & LWD is a must for all.16.5.11 This is for Bhavana (ever swapped clothes or twinned with your teenaged daughter?)Bhavana Pandey: Never twinned, my daughter would kill me but we’ve swapped clothes a billion times - it’s just so differently styled, no one can tell!12. Three eternal favourites in your wardrobe?Nandita Mahtani: White tee, denim & a classic shirt dress.Dolly Sidhwani: Hands down, Deepika Padukone!Nandita Mahtani: Rihanna is my all time favourite!3. Does age define fashion or does it depend on body type? Bhavana Pandey: Age to me is a just a number and one’s style tends to evolve with time but that doesn’t mean its necessary to change or alter yourself if you don’t want it to.

Who are the most stylish celebrities in India and abroad?Bhavana Pandey: Thinking effortlessly stylish, it has to be Kangana Ranaut and Blake Lively respectively for me. Never say Never!Bhavana Pandey: I’m done with fitted bodycon dresses.Nandita Mahtani: Age to me just does not matter. Your must-have fashion accessory this season?Bhavana Pandey: Chain belts, every season.Nandita Mahtani: Can we get done with frills, ruffles & voluminous sleeves already? It is just not me. Bhavana Pandey: I’m going to have to agree with Dolly and Nandi on this one..Nandita Mahtani: I would pretty much dress the same way as I would for a night out with my friends.17. Internationally, Chloe never fails to amaze. What are the latest fashion must buys this season?Dolly Sidhwani: Nothing says fashion like velvet boots!Bhavana Pandey: Anything Olive - bombers, dresses or jumpsuits. By now I think you know which styles are essential for you - a well fitted shirt to a chic dress.Dolly Sidhwani: Surely not age, but a body type can make or break a look for me.Dolly Sidhwani: I love dressing up so a dress & a pair of pretty heels is my fun night out look!8. 20s tend to be more experimental while 40s you know what you’re doing.Dolly Sidhwani: In love with corset belts, it’s trendy yet super fashionable.Dolly Sidhwani: 20’s was all about shorts and crop tees for me. A white tank with ripped jeans or a ***y black dress?Bhavana Pandey: White tank with ripped jeans always!Dolly Sidhwani: ***y black dressNandita Mahtani: Depends on my mood, white tank with ripped jeans in the day & a ***y black dress at night!6.Nandita Mahtani: To me, one of my dearest friends, Suneet Verma makes the prettiest Indian clothes and internationally, Gucci’s new quirky show has got me totally inspired & excited to be in the fashion world once again. What are the wardrobe essentials for women in their 20s, 30s and 40s.By your 30’s you should have found your perfect denim fit and a little black dress. Whether you’re in your 20s or 40s, you should own a wardrobe that you love & feel confident in. For a night out with your gal pals, you would dress in?Nandita wholesale velvet upholstery fabric manufacturers Mahtani: I would probably end up wearing one of my white or black, easy to slip in, short dresses with heels.2.Dolly Sidhwani: Style to me is an expression of one’s personality and it really reflects who you are.Bhavana Pandey: White shirt, greatly fitted denims & a go-to LBD

I have not had the privilege to know the music fellows, but it was a joy to congratulate the friends who became fellows and awardees and applaud the others.com.The Seraikella Chhau performance by awardee Pt. Anita is a strong feminist performing artiste who is inspired to interpret shared cultural myths to shift the paradigm of understanding a woman questioning the injustice of women living as a stone and then to become one. In addition to 2016 awardees, four Akademi fellows were awarded for overarching contributions to Hindustani and Carnatic music, Shri Arvind Parikh and Shrimati R. The red carpet below my feet matching the top of India Gate and the breathtaking sight of the illuminated Jaipur column, a fitting tribute to the Maharaja who gave Raisina Hill for the new capital over 100 years ago. Gopal Dubey began with a stirring Jatra Ghat by seven musicians playing the resonant large dumsa, typical lilting Chhau shenai, two dhols and sweetened with flute, sarangi and violin.Two other performances completed this particular evening of awardee presentations, Shrimati A. These annual Sangeet Natak Akademi award programmes should be high on the list of anyone with an interest or even curiosity in the arts or who has a desire to nurture cultural awareness in their children. The classic Ardhanarishwar etched-in-memory choreography by Guruji for the incomparable Sanjukta Panigrahi has totally metamorphosed into scintillating dynamic group choreography with fast paced and fast changing perfectly coordinated images and movements with no compromise on technique.B. As expected, Geeta Chandran’s Bharatnatyam performance was dynamic and powerful. I hope the award, in addition to his Padmashree, initiates a new energy in the development of Chhau dance. It is virtually impossible to open a book on Indian dance or music that does contain some or all of its images taken over many decades by this consummate artiste behind the lens. The pulsating grey and gold draped figure of Anita was mesmerising as she was far more than a lifeless stone but more the Bala Kanda description of remaining invisible for thousands of years, fasting by subsisting only on air, suffering and sleeping in ashes.workshop@gmail.Sharon Lowen is a respected exponent of Odissi, Manipuri and Mayurbhanj and Seraikella Chau whose four-decade career in India was preceded by 17 years of modern dance and ballet in the US and an MA in dance from the University of Michigan. Anyone with a Metro card, Uber/Ola number or car, can attend virtually any production in multiple theatres daily.

It was a powerful evocation of another wholesale curtain fabricmetoo moment with Surya’s remorse unable to undo the devastation caused. The same maroon velvet drapes and 5th century Buddha statue that framed the transfer of power at Independence backed the President as he heartily rose again and again for each awardee.Besides specific awards in individual fields of dance, music and theatre, the Sangeet Natak Akademi also confers awards for Overall Contribution in the Performing Arts and no one could deserve this more than photographer Shri Avinash Pasricha.The performances and talks by all of these national treasures were a treat for residents of the national capital region and I can never get over my good fortune to live in the only capital city in the world where great performing arts can be seen gratis simply by walking in. Vedavalli respectively, Shri Ram Gopal Bajaj for his contributions to Indian theatre and Shri Sunil Kothari for his outstanding contribution to Performing Arts through as author and critic. Milind Srivastava’s lights were a good reminder of how essential lighting is to the performing arts, something often neglected. After the ceremony, I had to pause at the doors open to Delhi to relish the view.Good lighting is just one of the integrated elements of the quite superb presentation of Odissi choreography by Srijan, the dance group directed by awardee for Odissi Ratikanta Mohapatra, started by his father, Padmavibhusan Guru Kelucharan Mohapatra. The other masked dancers performing Arati, Fisherman, Hara-Parvati and Chandrabhaga to Gopal’s Surya were Pradeep Basa, Parash Pathal and Chandan Kabi. She has contributed not only with her own Bhaاين نام مجاز نمي باشدnatyam performances, but also via her Natya Vriksha Dance Company and her writings. I am happy that he has shared his photographs to accompany this article. Sandhya Raman’s first-rate غير مجاز مي باشدtuming of stretch lycra was the perfect modality for a use of the body covered and changing shape immortalised by Alwin Nikolai’s 1953 Noumenon and Martha Graham’s 1930 Lamentation.One of Gopal Dubey’s three Chhau gurus mentioned, Guru Kedarnath Sahoo, was also my guru from 1981 and I was very touched that Gopal included in his SNA bio that I was Odissi dance guru. The woman from the stone emerged first as a mouth, vividly framed inside the dark contours of “stone”.A. Bala Konondala Rao, awardee for Kuchipudi, and Shrimati Geeta Chandran, awardee for Bhaاين نام مجاز نمي باشدnatyam.Wearing dhotis and Kanjeevarams, Himachali caps and lungis as well as smart modern attire, our living masters of intangible culture proudly walked up the three historic steps of the Durbar Hall dais, many needing a helping hand, to receive a nation’s gratitude for their contributions in dance, music and drama with Sangeet Natak Akademi awards.

Anita Ratnam, awarded for contemporary dance, opened one evening’s dance offerings with her solo presentation on Ahalya, created by Brahma as an experiment in perfection and cursed by her husband غير مجاز مي باشدe Gautama for infidelity when she and god Indra, disguised as Gautama, are discovered. This sophisticated dance of Jharkand, like its closely related unmasked form Mayurbhanj Chhau, were both supported by Odia speaking Maharajas who also exchanged Chhau gurus with dowry during intermarriages.Ratikanta’s focus as an artiste has been on more on choreography than performance, so it was a pleasure to see his well conceived, choreographed and presented solo portrayal of Sharbari, tasting the fruit offered to Rama, spitting out the sour one, evoking memories of the nuanced bhakti sensibility imbibed from his father. Bala Knondala Rao, trained by Guru Vempati Chinna Satyam, skilfully demonstrated her stature as a senior performer and teacher with her charming abhinaya well partnered by her accomplished son.B.I was surprised that Geeta Chandran only received an SNA award this year, considering the prestigious work she has done in India and abroad for ICCR, the ministry of culture and SNA itself. She can be contacted at sharonlowen. Gopal performed Surya, pursuing Chandrabhanga until she escapes by throwing herself into the sea. Everything Ratikanta does is well crafted and he has contributed to the field with brilliant choreography and training of dancers. With his Trinetra Chhau Dance Centre in Seraikella, I had worked with him to create Seraikella- Mayurbhanj Chhau productions for Doordarshan and the Delhi Kamani stage.It make me feel something is still right in this world when I see puppeteers, folk and tribal as well as classical performing artistes, being honoured by the President of India in the magnificently formal setting of Rashtrapati Bhavan. Both lyrical, martial arts based dance forms urgently need innovative, well monitored # support for new choreography and incentives to motivate for students to take up this art which is languishing despite past SNA patronage. They both performed with consummate grace