MINOR PROJECT

ON
THE STUDY OF THE INDIAN FSHION
SYTEM WITH A SPECIAL EMPHASIS ON
WOMEN’S EVERYDAY WEAR
Submitted in partial fulfilment of the requirement for the award of
the degree of
Bachelors of Business Administration

Tecnia Institute of Advanced Studies

Rohini, Delhi

SUBMITTED TO: SUBMITTED BY:

DR. GARIMA SINGH MANEESHA
(Assistant Professors) Enrolement No. 07917001721

(2021-24)
Indian Women Fashion Styles
 STUDENT DECLARATION

I there by declare that the project entitled “THE STUDY OF

THE INDIAN FASHION SYSTEM WITH A SPECIAL
EMPHASIS ON WOMEN’S EVERYDAY WEAR”

under the guidance of ‘DR. GARIMA SINGH’ submitted in the

partial fulfilment of degree of Bachelor of business administration
from “TECNIA INSTITUTE OF ADVANCED STUDIES”. This
is my original work and this project work as not formed the basis
for the award of any degree to the best of my knowledge.

Name: MANEESHA
Enrolment no.: 07917001721

Place: New Delhi

Date:
 CERTIFICATE FROM THE INSTITUTION
GUIDE

This is to certify that Minor project title “THE STUDY OF THE INDIAN

FASHION SYSTEM WITH A SPECIAL EMPHASIS ON WOMEN’S

EVERYDAY WEAR” is the original work of MANEESHA of BBA 2nd
Semester and has been dully completed under my guidance and supervision up
to my satisfactory level. This work has been done in partial fulfilment of the

requirement for the award of the degree of BBA from (Tecnia Institute of

Advanced Studies, Rohini, Delhi) and has not been submitted anywhere
in any other university for the award of any degree.

(Signature of the Guide)

 ACKNOWLEDGMENT

It is pleasure to acknowledge many people who knowing and unwittingly

helped me, to complete my project. First of all, let me praise god for all the
blessings, which carried me through all those years.

I am particularly indebted to principal/director of the TECNIA INSTITUTE of

ADVANCED STUDIES which inculcated in me utmost respect for human values
and groomed me up in the field of business administration to take on the
challenges of the competitive world.

First & foremost, I would like to express my regard to DR. GARIMA SINGH for
her constant encouragement support. I would also like to express my immense
gratitude towards all the lecturers of our college for providing the valuable
knowledge, guidance, encouragement extended during the completion of his
project.

I extend my sincere gratitude to all my teachers and guide who made

unforgettable contribution. Due to their sincere efforts I was able to excel in
the work entrusted upon me.

(Signature of the student)

MANEESHA

Enrolment no. 07917001721

 EXCUTIVE SUMMARY
The fashion industry is made to become unfashionable; this is the definition
Coco Chanel gave about fashion industry. This is applicable to the fast-fashion
model we have been applicating till today. Despite profitable, it is harmful for
the environment and it is not sustainable in the long term. The wave we are
living in right now shows us that the model should be slowdown. We have
found a sustainable as well as profitable model we will exploit.

The trends surrounding this business has been a way of determining the
industry itself. Fashion has become an important part of identity, for the
people it is kind of differentiation and self-assimilation. Fashion industry
empower the people to show off about their differences, while you are part of
something bigger, named a group, a culture, or a movement.

This industry is highly competitive, complex, and globalized, what means that
the manufacturing is highly diversified. One example of this over diversification
is that Inditex, Uniqlo and The Gap Inc. has each one more than 1.000
suppliers*.

The apparel industry is about €1 Trillion worth worldwide, with more than 300
million people working directly and indirectly for them and is one of the most
important industries when it comes to the development of poorer countries.

But there is also a flip side of the coin, this industry is the second more
polluting industry in the world. To put some context, we will show you some
worry numbers; there are kind of 350.000km2 of land dedicated to cotton crop
(which is approximately the size of Germany), there is a waste of water of
about 93 billion m3, and last but not least, half a million of fibre is being
thrown off into the ocean, which is the equivalent to 3 million barrels of oil. All
these issues must be tackled to accomplish a sustainable fashion industry.

Let´s talk about business. Our model is a simple one, we develop a website
where brands show whatever they want, and we will be in charge of making
them visible through marketing strategies (mainly digital).

This strategy means that we are going to be spending tons of money till that
money comes back. We have structured our project in phases to validate our
business model with the MVP, after that the following phases will be
established. This way, we are able to validate if this marketing expenditures
worth enough to continue allocating money into the business.

If so, our base-projections shows that we will need to allocate capital to two
different investments. First one, the website design as we are going to be using
Shopify till the business model is validated. This investment will come along
with hiring people with data analytics background to help us identify new
opportunities as they come up. The second investment is related to acquiring a
distribution centre to centralize the bestseller garments and fulfil in a more
appropriate manner the peaks of demand.

As I was mentioning, these important investments come along with new

functionalities that will put us as a well-positioned marketplace in sustainable
apparel business. The market itself is changing and is changing rapidly, so we
will take advantage of this rapid grow in sustainability-related purchases.

The first phase will be finance entirely by us, as we consider the skin in the
game of the founders with the project must be total. After that, when the
phase one is completed we will go to the next one raising capital.
As our main flow of resources is the fee we charge to the brands, our margins
will be low, even negative till we get enough economies of scale to leverage
our results. So, to put it bluntly, our breakeven point is the Q4 of 2.022, but in
a yearly basis we will get an overall positive result in year 2.023. The same
when it comes to operating cashflows that will turn around in 2.023.

The IRR of the dividends, meaning the money you put vs what you get is 40%,
without taking into account that you will still hold the stake of the company.

PREFACE

The versatile draped silhouettes & heritage craft traditions redefined for
contemporary connoisseurs; have further led to the rising acceptance of Indian
ethnic/ fusion fashion as a paradigm shift for India to discern and emphasize
local inimitability, to create a sense of belonging and stimulate consumption of
a culturally promoted “Global-Desi” fashion dictum across cultures. This paper
presents the study of major factors contributing to the Indian fashion system
interpreting its engagement with the Indian society and also the world.

This research highlights impact of the Indian Fashion system on the Indian
society and its meaning. There is continued interest for classical Indian dress
silhouettes, heritage textile crafts, accessories; this study concentrates on
outcomes through the lens of history, culture, and sociology of fashion. The
neue urban tribes and fashion social movements in the post-modern era led
emergence of the apparel category- occasion wear; reserved for weddings,
festivals, formal evening wear for parties. There is opportunity for exploring
the hyper reality through the represented garment simulation in the occasion
wear category. The neue urban tribe creates lasting footprints through
interpretation of the Indian Fashion System enroute popular culture;
Bollywood and the satellite television. The semiotic approach to decode the
nuance of the Indian fashion system embedded in popular culture through
visual media like, family albums, films, magazine articles, red carpets
appearance etc. across the 80’s, 90’s and 2000 onwards. The neue Indian
women perceive the sari, salwar kameez, band gala jackets, as essential
inclusions of their contemporary wardrobes as they rendezvous their global
counterpart in quest of cool hunting (Fashion Identity), trendsetting. Thus
number and variety in types of fashion apparel will have a positive relationship
with the role of women in society and their education level, profession and will
provide future trend directions for occasion wear.

Operational definitions

Global-Desi (An Indian term for global yet local Indian, global; Neue Indians),
Khadi (fabric which is handspun and hand woven in India, often referred as
Fabric of freedom).
CHAPTER 1
 INTRODUCTION
India is emerging as a strong knowledge economy therefore globally people
have been intrigued by India; be it the Taj Mahal (Tourist destination), Yoga
(holistic fitness), Ayurveda (natural healing), Bollywood (Kitch entertainment)
where each signifies the favored fashion and lifestyle trends; notably towards
Indian fashions, apparel and textiles. India has a rich legacy of heritage textile
traditions and wide range of ethnic costume traditions comprising versatile
draped silhouettes and classic tailoring techniques; across the subcontinent,
suitable to the terrain, weather and the regional socio-cultural influences due
to various invasions and the colonial past. There is continued interest for
classical Indian dress silhouettes, heritage textile crafts, accessories, and
grooming practices among the western ateliers ever since the colonial past;
where Indian cotton was the raw material for feeding the British mills during
industrial revolution in the early 20th century & Pashmina wool shawls are a
luxury fashion classic. This paper dwells upon the Indian fashion system with a
special emphasis on womenswear as pursuit of fashion has been perceived to
be synonymous with women, and there is opportunity for studying Indian
fashion system.

The Indian women have been an integral part of the family, and been confined
to home. Social visionaries worked relentlessly towards women’s
empowerment post independence and emphasized on education as the
roadmap to attain it. Till about the 1970’s the Indian women dressed in their
regional style and patronized the traditional textiles in the neighboring areas.
The most sought after textile though was the Banarsi Sari for the bridal
trousseau in the northern, eastern and western states, but down south the
Kanjeevaram brocades found favor. Seema Goswami writes, ‘In the days
before India was divided in the name of religion, wearing a sari or shalwar-
kameez wasn’t a function of which God you worshipped. What you wore pretty
much depended on where you lived. In Punjab, women wore the shalwar-
kameez irrespective of whether they were Hindu or Muslim. And in Uttar
Pradesh, Bengal and Bihar, they wore the sari, whatever their religious
persuasion’. The sari consumption pattern of the women in rural India has also
changed post the 90’s, they have given up their traditional saris for cheaper
mill made ones inspired by the television soap operas (popular culture) and
also for practical purpose of affordability, visual appeal & maintenance.

BACKGROUND STUDY REFRENCES

“Barthes’s book and his theory of Semiology of fashion have had a profound
impact on the field. Fashion he argues, is the product of the social relations
and activities that are involved in putting an outfit together. Fashion is
actualized through the way the garments are worn. Barthes makes a
distinction between three kinds of garments:

1.The Real garment

2.The Represented garment

3.And the used Garment, corresponding to the process of production,

distribution and consumption.

Toby Slade, in his case study on Japan, argues that modernity actually
stimulates tradition, for in modernity progress is constantly sought, yet
constantly questioned, undermined and remodeled. Modernity, he says
everywhere repeatedly clothes itself in reconstructions of the past, recreating
a national costume and inventing national traditions to authenticate the very
idea of the nation itself. Simultaneously, the significance of place increases
with globalization because it represents a threat dueto the speed and flexibility
with which ideologies and goods flow across national boundaries.

The French Postmodern theorist Jean Baudrillard, we now live in a world

increasingly dominated by images and signs, which have become our primary
reality. They are simulations of reality and we therefore live in a state of hyper
reality, which has no reality beyond itself. We can use Las Vegas and Disney
World as examples of hyper reality as they do not reference reality.

Research has been carried out on designing and development of various

apparel categories and documenting changes in fashion trends and
documentation of traditional textiles but little research has been conducted on
understanding and documenting the Indian fashion system. This research will
high lights impact of the Indian Fashion system on the Indian society,
appropriation and its meaning. How does the Indian fashion system relate to
Indian women and industry. The Occasion wear gives the opportunity for
exploring the hyper reality through the represented garment.

The methodology adopted for this study was to take the semiotic approach to
decode the nuance of the Indian fashion system embedded in popular culture
through visual media like family albums, films, communicated through
multifaceted media avenues like magazine articles, red carpets appearances,
runways, across the 80’s, 90’s and 2000 onwards brings forth the women’s
Fashion Identity of India. Since there are no appropriate devices which appear
suitable to measure the Indian fashion system, it will be necessary to develop
such measures, based on the researcher’s own observation, understanding and
review of secondary sources like books, research papers, magazines and
internet. All measures are designed and developed primarily for a population
of Indian college women graduates and postgraduate programs. Collected big
fat Indian wedding (consumerism/exhibitionism) wedding pictures across 80’s,
90’s and 2010 (3 images each, 9 images for visual deconstruction and semiotic
approach). Online questionnaires using Google forms (50 respondents) and
personal interviews schedule administered to designer to get their views on
the topics. Focused group discussion with designers, manufacturers &
consumers and collated all the information. Collected Bollywood film
screenshots for role of women in Indian society, depicted in Hindi films as
Student, romantic, married, mother (3images each, 12 images for visual
deconstruction) and semiotic approach. A plan of analysis of data was made
including methods for scoring and coding. The data was then computed and
interpreted.

Dress vs. Costume

Throughout this text the term dress is widely used due to its ability to function
as neutral and inclusive term when referring to clothes or garments of all types
and styles. Definition of dress as an “assemblage of body modifications and
body supplements displayed by a person and worn at a particular moment in
time”. Alongside dress, we use the term clothing and garments as they too are
similarly universal terms for referring to various styles of dress, single or
multiple items and outfits. In comparison I use the term costume sparingly
while discussing contemporary clothing. This is primarily because close
attention to term costume reveals it to be highly problematic due to its usage
in reference to “exceptional dress, dress outside the context of everyday life:
Halloween costume, masquerade costume, theatre costume. Hence, making it
largely incompatible with the majority of the discussion in this text (barring the
segment on film and television). In some cases the term is also used to refer to
museum collections and historic repositories of clothing from all cultures.
Bearing all of these connotations in mind, the term costume, wen combined or
associated with Indian, renders it incapable of being viewed as fashion.

FASHION
Finally, Fashion is undeniably complicated concept to define simply, especially
as there are so many interpretations of the phenomenon. Adding to the
difficulty is the lack of materials prior to the 21st century that seriously examine
fashion outside of western centers. Since the English term Fashion itself has no
direct translation in Hindi or Urdu its earlier usage in India was also for the
most part limited to the context of modernization of men’s and women’s
dress, or to the impact of external influences as opposed to the indigenous
ones especially from a critical standpoint (Nagrath 2003). While the following
subsection addresses some of the issues pertaining to Fashion theory’s
Eurocentric leanings and how the study and classification of fashion can be re-
evaluated in a manner that is more globally inclusive, with regard to this book’s
overall discussion I am in agreement with the core aspect upon which most
definitions of fashion coincides-that is centered on notion of style change.
What causes the change in styles of dress worn at a given time is the process of
fashion (Kawamura 2005). This process not only differs depending on the place
and time period, it is also reliant on a system of interrelated institutions. These
include groups of manufacturers, designers, retailers, journalists, promoters
and consumers, all of which contribute to the making of fashion (Kawamura
2005). In this the system of fashion is a “hybrid subject” characterized by the
interrelationships between various forms of productions and volatile patterns
of consumption and demand. Also relevant to this book’s discussion in favor of
fashion in India is Kawamura’s assertion that irrespective of their size and
place, all fashion systems have certain basic features in common-where “the
minimum requirement of network of people that include those who introduce
or propose changes in dress and those who adopt at least a portion of
proposed changes… and the proposers and adopters… must be in
communication with each other,” either directly or indirectly through
advertising and other forms of mass communication (Kawamura 2005). And
while not all clothing fits under category of fashion, all clothing systems have
the ability to possess some relationships with fashion systems and stylistic
conventions linked to such systems.
 CHAPTER 2

LITERATUTRE REVIEW
INTRODUCTION:
This chapter presents the review of literature relating to the study undertaken.
A brief review of literature would be of immense help to the researcher in
gaining an insight into the selected problem. It would help in gaining good
knowledge of the area under study. This study is the first of its category in the
way as it attempts to compile the views given by expert designers, research
bodies and individual researchers with reference to Indian women fashion
style. The reviews presented below are based on internet search, perusal of
related literature available in libraries and from various publications of books,
newspapers, journals, magazines and research studies made on this topic.

REVIEWS ON THE FASCINATING EVOLUTION OF

INDIAN WOMEN’S FASHION OVER THE YEARS
By Yashodhara Shroff (a one of the fashion story writer) March 8, 2017,
Updated on: Sep 5, 2019:

From salwar kameez to bell-bottoms to high-street fashion, Indian fashion has

undergone significant transformation through the decades.

“Dress shabbily and they remember the dress; dress impeccably and they
remember the woman.”

This, said by one of the most popular figures in global fashion history—Coco
Chanel—certainly manages to define what fashion is all about – style,
elegance, and perfection. While the changes in women’s clothing and fashion
has been documented since ancient times across the world, these variations
mostly reflected the social and political scenario of various countries, rather
than being a popular practice. However, varying reports suggest that fashion as
a cultural practice was first recorded in the western world during the fifteenth
century, albeit reserved for the crème de la crème of society; the royals,
aristocrats, and the elite.
India's transformation in women’s clothing and fashion over the years has not
been as drastic as compared to its western counterparts, owing to various
traditional beliefs and values still held by most Indian women. Nevertheless,
with changing times, even the most traditional apparels have been modified to
hold an urban look without compromising on tradition. This Women’s Day, let
us explore how the changing fashion wear in India reflected Indian women’s
sense of individuality.
Following India’s independence in 1947, as the country began to create its own
identity, its citizen, especially the women, began their very own transformation
that eventually set the standards of Indian fashion.
Whether it is the versatile saree, the humble salwar kameez, or the Indo-
western fusion of wearing kurta with jeans, many Indian women have
managed to adapt various trends in fashionable clothing without
compromising on the beauty of all things Indian. However, one should know
that fashion is ever-changing, and while some styles manage to become
timeless classics, other trends only enjoy a brief hype before they die down.
Nevertheless, the fashion industry in India is constantly transforming and
growing, irrespective of such trends.
The textile, apparel, and fashion Industry in India – a brief insight
The Indian fashion industry has grown leaps and bounds over the years with
rising western influence, and changing tastes and preferences of consumers.
According to a report published by Indian Brand Equity Foundation (IBEF). India
is the second largest exporter of textiles and clothing in the world. The
domestic textile and apparel industry in India is projected to be worth more
than $141 billion by 2021 from $67 billion in 2014. Furthermore, increased
penetration of organised retail, favourable demographics, and rising income
levels are expected to be the key growth drivers of the Indian textile and
apparel sector in the next couple of years.
The Indian fashion market also owes its transformation to some extremely
talented Indian fashion designers who have made their mark both in India and
globally with their unique style and creations.
The market for women’s fashion in India is probably the most lucrative in
terms of variety and scope. Even international fashion houses and brands have
begun to focus on the immense potential for growth in this segment. Some
have even gained acceptance and brand loyalty among the millennial female
population. However, popular brands are not the only ones driving the growth
of India’s fashion industry.

Worldview:-
There already exists a worldview on various aspects related to the semiotic
meaning making of fashion apparel, which is now being contextualized to the
Indian sari in this study.
Apart from the documentation and detailed research on traditional Indian
textiles, there exists philosophical/ phenomenological view by art and textile
historians and anthropologists about cultural practices of clothing selection.
This reflects the thought process and understanding of the very existence and
evolution of the Indian sari and its meaning in the global context. Banerjee
(Banerjee, 2006) and Chisti (Chisti, 1995 and 2010) amongst the leading
scholars who have explored the multiple facets of the Indian sari beyond the
tradition and textile practice. Barthes’ study on; the semiotic theory and the
fashion system (Barthes, 1984, translated in 1990 and 2006) have been taken
forward in this study and established its relevance to the Indian sari.
The ideologies, philosophies and theories put forth by these great researchers
and thinkers allowed the researcher to identify, understand and analyse all the
influencing factors which have contributed to significance and the semiotic
interpretation of the sari in the post-modern context, though its origin can be
traced back to almost 5000 Methodology 81 years ago. Not only were these
views cited to explain the theories concluded by the researcher, but also
helped the researcher to develop and put forth her view.

The Bollywood influence in Indian fashion

The flourishing Hindi film industry in India has played a key role in transforming
the way Indian women dress. While the 1960s brought in the era of heavy
jewellery and embroidered sarees, the 1970s brought with it a sense of
experimentation, with bright colors, polka dots, and bell bottoms.
However, the subsequent decades are touted to be the time when Bollywood
began to adopt more westernized concepts in terms of fashion, and, in a sense,
ushered in an era where the women didn’t shy away from making bold and
stylish choices. With the 1980s being the era of disco, Indian fashion during
this time saw plenty of glittery apparel in gold or silver, chiffon sarees in
various colors, and denim and leather bike jackets. The following decade of
1990s saw the arrival of floral dresses, full-sleeved salwar kameez in various
styles, and long skirts. The latter part of the decade brought in short dresses,
sportswear or 'athleisure', crop tops, and halter necks.
The year 2000 ushered in a dynamic shift in the way Indian women dressed
and presented themselves. Each piece of clothing worn by leading actresses
became bolder and more sensual, reflecting the fact that Indian women had
begun to feel more comfortable in their own skin, and had no qualms in
admitting the same.

Indian fashion from 2010 – present

Following the rise of Internet and smartphone usage, more women are now
able to stay au courant of latest fashion trends, and have become smart
consumers who know what they want when it comes to fashion. 'Unique, chic,
personal and bold' is the new style statement, and Indian women confidently
demonstrate these traits with what they wear. Smart pantsuits, body con
dresses have become an integral part of the corporate women’s wardrobe,
while designer wear and high street fashion are slowly becoming the norm at
soirées.
Irrespective of how Indian women choose to dress, one thing is quite clear –
they are smart, confident, and independent individuals who believe they can
achieve anything in life, and what they wear definitely reflects that. On the
occasion of International Women’s Day, we wish every woman courage to
chase their dreams, while dressing they want without fearing judgment or
scrutiny of society.

THE MAJOR FACTORS CONTRIBUTING TO THE INDIAN

FASHION SYSTEM
The Fashion System gains momentum when women participate in the
mainstream of the society. The Indian aesthetics absorbed the western fashion
and technological trends gradually throughout the 20th century. The Indian
fashion scene began receiving its due credibility and attention from 80’s
onwards: hence this paper focuses on the 80’s (closed economy), 90’s (opening
up of the Apparel Industry), new millennium 21st century to understand the
Indian Fashion System. The new millennium has seen revolutionary change
across the socio-economic diasporas of India due to humongous efforts of the
past and the globalization. The Indian women are seeking higher education,
step-up from their conventional role as homemakers, mothers, wives along
with a professional life and social life independent of the family, due to
personal interests and inclinations. The information technology has brought
the world closer and sudden economic growth has given the Indian women a
great emancipation in terms of their sartorial practices. As these neue Indian
women gear to take on various social and professional roles and lifestyles, they
have embraced new garments in their wardrobe to meet these roles. The
Internet and satellite television not only provides the information on latest
world fashion trends but also an access toit even in tier 2 cities of India by
means of online E-commerce portals and tele-shopping.
Rama Bijapurkar writes in her article titled The Whole Six Yards, (Forbes India,
July 2013) “Over the last two decades, several new ‘culture classes’ have
emerged and older ones have morphed to define themselves through new
customs, values, or new degrees of tolerances. The modern young upper class
women are a distinct new culture class—at home in miniskirts and in sari and
blouse ensembles that sizzle. She dresses like she could be anywhere in the
world, in business suits or in jeans, living in homes that look like they could be
anywhere in the world, serving food that embraces all cuisines; she shops at
supermarkets and malls for her regular stuff, patronizes international and
Indian brands, but will go to local markets for entertainment shopping—the
opposite of what some other culture classes would do; she has domestic staff
like her mother did, only these are more professional; she thinks of herself and
her children as global citizens, English is the only family language and her
family unit is built to live life king size—free from uniquely Indian traditions
and social restraints that she grew up with. Market watchers would like to
believe that this is the new Indian mainstream but that is naïve and wishful
thinking.
Another large culture class is the rapidly prospering small business woman—
shop owner, beauty parlor owner, tailoring establishment owner. She
continues to transact in the vernacular with her family, vendors and staff but
manages reasonable English with her customers who she needs to SMS; she
eschews ‘costly’ big shops and big brands, and is a big fan of the ‘imported’
label. This label stands for ‘cheaper’, more exciting novelty available through
her usual shops, sourced by people like her. Her children are her biggest
teachers and modernizers.”
These neue Indian women have frequently migrated for education and work
opportunities from their native cities. These migrations have in a way set them
free from the native community also led to an increase in inter-caste
marriages, cosmopolitan social groups, and liberation from being known only
by ones marital status; there are conservative pockets yet across India. Hence
the internet gives them that opportunity of convenience, independence and
familiarity to fit-in in the new place and role and ascertaining the upward
mobility through the fashion look: the represented garment. There are also
concerns for ascertaining one’s own identity in the new place hence inclusions
of ethic fashions for festive occasions. Limited information of a local market
and accepted dress codes and quality (which conventionally was passed down
by family and friends in the neighborhood) there is rise in purchase of fashion
on online platforms.
Various initiatives by the Indian government towards women’s empowerment,
and the society being sensitized towards equal opportunities for both the
genders has led to both parents/partners working in a family, which gives more
disposable income for fashion and a huge spurt in retail brands both in the
brick and click format. The open markets have led to democratizing access to
fashion both in terms of availability and affordability for people across the
socio-economic pyramid. Citing India’s demographic and socio-political
scenario, the top fashion brands are anchoring on this opportunity and are
influencing the Indian fashion system as all levels of the fashion value chain.
The economic liberalization of India in the '90s had a curious by-product in
Indian fashion. Come festival time, you couldn't get away from heavily-
embellished ensembles. Even veteran designers like Tarun Tahiliani and Ritu
Kumar had to give in to clients' demands of outrageous clothes that flaunted
the affluence of crystals, diamonds and gemstones. "But the well-travelled,
globally aware woman of today understands that less is more," says actress
and socialite Suchitra Pillai. The 21st century Indians are globe-trotters and
assimilate fashion acquisitions from their foreign tours along with their identity
intact in indigenous dressing, which have been given a postmodern uplift by
home born designers. This fusion space that we are living is where the
transition from the represented garment to real garment is making the Indian
Fashion system so dynamic and interesting.
‘Surveying some of the major arbiters of taste, from politics, film and television
soap opera. These compliment the development of branding and the impact of
major companies. The big players in the commercial sector seek to influence
what we wear through manufacturing, advertising and sponsoring powerful
and seductive images that people want to emulate. The eccentric sari shopper
is never likely to encounter the kind of fashion hegemony which means that in
Western markets flares or long jackets may disappear entirely if they are not
part of that season’s styles. While ‘fashions’ in saris do happen, they are likely
to guide only a small proportion of new sari buying each year. Women may buy
one sari which is ‘trendy’, but will usually ensure it is inexpensive in case it is
no longer wearable the following year. More expensive saris are rarely bought
according to such short-lived trends, for as we have seen, the influences on
taste go far beyond the latest soap operas to include fondly remembered
national leaders and the timeless classics of a vast legacy of films, as well as
regional, family and personal traditions’, Mukulik. B. &Daniel. M.

Desi-chic: An Overview of Fashion in India post-

liberalization
We pair fluorescent orange with electric blue, or queen pink with parrot green
without batting an eyelid. An Indian woman will wear a Kanjeevaram sari with
a bandhini blouse and see nothing wrong with it. Wedding chooras with blue
denims, mojris with chiffon dresses, boots with seedha (straight) pallu saris,
turtle neck sweaters with Rajasthani ghaghrasi. We combine fake labels with
real rubies, throw in a hippie stole from Goa with a sequined blouse from
Delhi’s Janpath. Sometimes, all at once. (Vasudev 2010)
Fashion in the West fit seamlessly with the way fashion in India functions, what
is warm in India presently, though cohesive on many levels with wider global
fashion trends, is not simply a copied form of Western fashion. No matter how
much Wester dress may appear to displace traditional dress styles, clothes still
need to be worm in a specific “fashion” in order to function within certain
localized constructs for their meanings to be transmitted convincingly. In India,
this relates as much to the past as it does to present-day pressures of
modernity, and takes into consideration the evolving sense of national identity
that is “not a once and for all thing” and can be “dynamic and dialogic”.
(Edensor 2002: 17). Hence, fears of globalization having a homogenizing
impact on all aspects of indigenous societies and obliterating local cultures are
easily dispelled, especially as traditional styles remain highly relevant to daily
life in India and are worn as everyday dress, not costume.
Despite such variances, there also exist multiple commonalities in these
systems brought about by a shared sense of culture, tradition, national pride,
common nodes of collective nostalgia, exposure to national and global media,
and popular culture. Alongside key social and cultural factors, fashion is highly
responsive to various local and global style axes that regularly coverge through
films, fashion magazines and related visual media, and other mediums of
popular culture, which like clothing also rely on global (and local) networks for
their framework and content. Bollywood, India’s popular film industry, has
historically been a key setter of fashion trends and continues to be influential
across the nation in current times and is hence an excellent medium for brand
promotion.
Since fashion is an intrinsic part of popular culture through its ability to reflect
the collective behaviors of mass culture (Cunningham and Lab 1991: 11), Urban
Indians can “imagine” themselves collectively-as globally connected yet locally
rooted Indians. Through acting as a major point of reference for Indian culture
over the past century, films in particular have come to shape how people
perceive various aspects of their live as well as changing scenarios of
modernity in India. Since films also have significant impact on the material
aspirations and consumption patterns of viewers themselves. Alongside the
films, the role television has played in recent decades towards introducing new
innovations in traditional dress through the extremely popular daily soap
operas and reality makeover shows.

CHAPTER 3
 RESEARCH METHODOLOGY
What is Research?
Research is defined as human activity based on intellectual application in the
investigation of matter. The primary aim for applied research is discovering,
interpreting, and the development of methods and systems for the
advancement of human knowledge on a wide variety of scientific matters of
our world and the universe.

Types of Research
Practical Research: Practical research involves survey, interview, and field-
level investigation in order to achieve the correct information. It is highly
important that all information is complete and reliable to properly support the
decision-making process.

Theoretical Research: The term theoretical is sometimes informally used in

lieu of hypothetical to describe a result which is predicted by theory but has
not yet been adequately tested by observation or experiment.

Research Methodology
The process used to collect information and data for the purpose of making
business decisions. The methodology may include publication research,
interviews, surveys and other research techniques, and could include both
present and historical information.

Types of Research Methodology

1) Quantitative Research
This research is based on numeric figures or numbers. Quantitative research
aim to measure the quantity or amount and compares it with past records and
tries to project for future period. In social sciences, “quantitative research
refers to the systematic empirical investigation of quantitative properties and
phenomena and their relationships”. The objective of quantitative research is
to develop and employ mathematical models, theories or hypothesis
pertaining to phenomena.
2) Qualitative Research
Qualitative research presents non-quantitative type of analysis. Qualitative
research is collecting, analyzing and interpreting data by observing what
people do and say. Qualitative research refers to the meanings, definitions,
characteristics, symbols, metaphors, and description of things. Qualitative
research is much more subjective and uses very different methods of collecting
information, mainly individual, in-depth interviews and focus groups.
Sources of Data
I. Primary Data- Primary Data are those data that are collected basically
for the project use and are first handed. To collect Primary Data the
procedure used is mentioned below:
1. Personal Interview- We approached towards customer asked certain
questions that were relevant to the research objective.
2. Questionnaire- Questionnaire is a set of questions related with the
objective of research. It was provided to an individual customer and
were asked fill it as per their preference and perception.

II. Secondary Data- Secondary are not first handed data. Sources of
secondary data are as follows:
1. Internet- In order to collect more data we were required visit different
site/website on internet.
2. Journal & Magazines- Article coming in different journals and magazines
were also referred in order to gather more relevant data to make the
project more effective.
 3. Newspaper- The business newspapers were even referred to collect to
more information and data.
The researcher has been seriously studying the numerous perceptions of the
Indian sari and meanings conveyed by apparel in various fashion systems. She
became aware that the study on non-verbal communications of the sari; have
many underlying meanings which have transitioned from tradition, cultural
affiliation, heritage, social acceptance, aesthetic appeal, comfort, national
identity, modesty, sensuality, concept of modernity for the women who have
worn this magnificent draped garment for almost 5000 years.
The broad objectives of the study were to trace the semiology of fashion
apparel and the semiotic meaning of the Indian sari with the changing role of
women in society. The study of the semiotic interpretation of the Indian sari:
by trade organizations/ industry & designers. Analyse and interpret the
semiotics of the sari for trend mapping and study its role in the Indian fashion
system.
A qualitative approach was used for this study on the semiology of the Indian
sari since the paradigm of qualitative research includes a focus on process
versus product or outcomes. The qualitative paradigm also focuses on an
individual’s experience and description of life, situations and since this study
explored individual perception and non- verbal meaning making, the
qualitative approach was best suited to this goal. Case studies of sari designers
and users were conducted using in-depth interviews and observations to
explore their personal experiences, observations and have a description of
those experiences in their own words. Several designers have been engaged in
the sari trade and have been instrumental in creating alternative and
innovative options and markets for them.
An interpretive research method, which relies heavily on ‘thick’ verbal
descriptions of a particular aspect being studied, was used to study and
analyse the non-verbal meaning conveyed by the sari in Phase III. This
approach “illuminates the invisibility of everyday life”, by making the familiar
strange more examined and better understood.
Chapter 4
 DATA ANALYSIS
The case studies of various textile scholars, designers, wearers and trade
organizations led to a large body of information. The semiotic approach to
decode the nuance of the Indian fashion system embedded in popular culture
through visual media like: family albums, films, magazine articles, red carpets
appearance etcetera across the 80’s, 90’s and 2000 onwards. This information
was visual (images of women wearing saris), written (survey responses),
experiential (responses to the experience of wearing a sari, tactile feel, ease
and comfort), verbal and non-verbal and through observations (researchers
own interpretations of the phenomenon). Techniques and procedures
however necessary are only means to an end; their intent is to provide
researchers with a set of tools that enable them to approach analysis with
confidence and to enhance the creativity. It is the vision of new understandings
and the building of useful grounded theory that is the driving force behind this
methodology.
Understanding the semiology of fashion apparel has been achieved through
exhausting deductions from the review of literature, for contextualizing it to
the semiology of the sari.
(Ranavaade, 2013) The sari and salwar kameez has evolved in its form and
function and is worn for the following functions:
 Daywear: At home/socializing/shopping.
 Work Wear: For household chores/ farm work/manual labor
/performing arts /prostitutes/ /uniforms /institutional work in
offices/schools/colleges/airlines/hotels/police/nursing/ in court of law /
Board rooms/ on international deputations, etc.
 Occasional Wear: (As Hostess/ Guest) for festivals, religious ceremonies,
award ceremonies, formal dinners, weddings, house warming, baby
showers, birthday parties, kitty parties, anniversaries, corporate
luncheons/dinners, funerals too.
The Indian Fashion System’s Engagement with Everyday Wear /Casual Wear
The broad classification and working definitions of Casual Wear for the Indian Fashion
system is:

 Smart Casual: Generally neat yet informal attire qualifies as smart casual
wear.
  Business Casual: Business dress has three primary categories: Power
Business, General Business, and Business Casual. While Business Casual
attire is a recent addition to traditional business dress, it is known as
Friday dressing.
 Active Casual/ Sporty Casual: This category encompasses apparel for
gym, running, rollerblading, biking, tennis, racquetball, golf and other
such sports. Most sports have particular items of clothing that support
participants in performing well in that game. This category is not about
playing a sport, but more about the relaxed look of a spectator.
 Rugged Casual: The Rugged Casual category draws garments from the
typical apparel of the more outdoorsy sports, like hunting, fishing,
backpacking, rock climbing, etc.
(Ranavaade and Karolia 2016) The Indian fashion system is very dynamic and
its interpretation has been challenging sighting so many variables that govern
and affect it. By the turn of the century India got its first edition of VOGUE,
ELLE, GRAZIA, HARPER’S BAZAAR, MARIE CLAIRE etc. having dedicated fashion
publications speaking about issues pertaining to fashion to the masses,
organized fashion retail, fashion MNC’s, and then the on slot of e-commerce,
social media and information overload has made the world a small place. In
this post-modern-era one needs to find instant recognition as well as express
once individuality. Hence finding once fashion tribe is a constant pursuit for
both the providers and consumers of Fashion. The Indian fashion system is
shaped by providers like Textile craftsmen, local darzees (tailors), textile mills,
small garment workshops, textile and garment technologists, designers, brands
: Indian and foreign, fashion media, stylists, etc. and consumer is ever ready to
accept the fashion representations for instant gratification. The technological
innovation that has gone in the textile and apparel manufacture doesn’t even
find mention in a layman’s world of fashion, where glamour and beauty take
prominence and the represented garment is what matters the most. The real
garment and the worn garment are beyond the purview of fashion consumer.
However conscious efforts by the providers of fashion towards sensitizing and
communicating the story of the fashion product from the fibre to fabric or
cradle to grave have given rise to the global awareness of Ethical Fashion.
These initiatives may lead towards a more responsible Indian Fashion system
and will positively Impact all the stakeholders in the value chain. The world is
already looking at the Indian Fashion System and seeking to find its share.
(Gugnani and Brahma, 2015) According Techno pack report2014, Women
Casual Wear Women’s apparel market pegged at INR 93,080 Cr in 2014, and is
expected to reach INR 2, 49, 710 Cr by 2024 as it will grow at a CAGR of
10.4%during this period. Denim, innerwear and T-shirts represent the three
fastest growing categories growing at a CAGR of18%, 17% and 15%
respectively. A women’s casual wear collection largely comprises of
fashionable skirts, tops made out of chiffon, silk, velvet, cargo, cropped or
utility pants, capris and shirts made out of denim, silk and chambray, different
washes of denim, leather or denim jackets etc. Despite comfort and
effectiveness being considered of utmost importance, the traditional sari and
salwar-kameez in a woman’s everyday wardrobe still hold a major share, it is
predicted that other casual wear is likely to replacing the traditional sari and
salwar-kameez. Complimentary accessories like scarves, hats, mittens,
handcrafted belts etc. have made the women’s casual wear market much more
versatile and dynamic than the Men’s Casual Wear market.

TO INTERPRET THE INDIAN FASHION SYSTEM’S ENGAGEMENT WITH INDIAN

SOCIETY
Indian Weddings impact on the Fashion System:
The Indian Fashion System ‘s engagement with the Indian society is intrinsic
and manifests itself through the epic enter of Indian Society’s great institution
of marriage. The marriage in Indian Society is about the alliance of two
families, not exclusively of the couple, hence has many dynamic socio-
economic and sometimes political undercurrents. The rituals and ceremonies
of a traditional Indian wedding goes on for a couple of days with certain
indication for a dress code is prevalent in most communities and has few
variations. The sari symbolized womanhood in Hindu culture hence the coming
of age was signified by a transition from a skirt-blouse (Ghaghra-choli) to a
more grown up garment; the sari. Even in contemporary India the sari is often
a preferred ensemble for a school farewell party, the first cousin’s or friends’
wedding or to convey that a young lady is ready for courtship and /or
marriage.
Traditionally the young bride was given a trousseau and some heirloom
costumes and jewelry. The trousseau was prepared by the bride or her family
to exhibit her skill of sewing and embroidery and “streedhan” in form of
jewellery was for her financial security. However over a period of time social
malpractices of dowry crept in on one side and on the other side the
emancipated bride and her family, did not harness the skill of embroidery and
sewing, thus the hand skill was lost from the household and hence need for
outsourcing the trousseau. This is also the time around the 90’s when India
experienced the phenomenon of Designer fashions. These very urges of
exhibitionism led to the phenomenon of Big Fat Indian Wedding’s, destination
weddings, theme weddings, Wedding planners, Bridal wear category, Bespoke
services, Bridal make-up, Wedding Photographers and Film makers etc. The
NRI reconnected with India through Bollywood style wedding concepts, one
saw a surge in lavish NRI weddings.
The wedding data images collected for weddings across the various decades
and communities has yielded some interesting observations: All the brides
wore the traditional costumes for the wedding ceremony. The degree of
ornamentation has increased over a period of time. The overall presentation of
the fashion look seems to represent the exhibitionism of the economic boom
synonymous to the Big Fat Indian wedding, which was much simpler in closed
economy of the 80’s. Over a period of time the transition from the real
garment to the represented garment is evident. One can observe that as the
brides are getting emancipated even as they adorn a represented garment,
they are confident about showing their real personas during the wedding
ceremonies, in contrast to socially acceptable shy representation of the bride
of the 80’s.
These days the brides often are unfamiliar to the fit and feel of the traditional
costumes and adorn their designer bridal dresses worn only once or very rarely
repeat it later in life. They are not used to carrying the heavy costume, drapes
and jewellry. As they have worn casual wear or work formal fashions till that
day. The neue brides seek specialist professional help for draping, makeup and
poise. In earlier time the brides married at a younger age and were groomed to
wear a sari and carry themselves well at home and were dressed up by friends
and cousins retaining the family traditions. The bridal wear was heirloom and
worn often on important occasion post the wedding too. In both cases the
elder women would give the approving nod as an endorsement atleast on the
wedding day! It may therefore be accepted that the wedding dress has
become a costume with the expansion of the Indian fashion system over the
decades.
The inter caste marriages show the evidence of incorporating costume
traditions of both communities and separate ceremonies or beautifully
combined in the same ceremony. The NRI wedding is also great opportunity to
present once ethnic identity through “represented garment” of the NRI Bridal
trousseau and celebrations and often more about exhibiting to the Extended
Indian family their socio-economic status and lifestyle.
Chapter 5
 LIMITATIONS OF STUDY

 1.TIME CONTRAST:-
 Since the study was taken for a short period. So, time was the biggest
constraint and agents catering to a specific kind of market favour this
limitation.
 RELIABILITY OF DATA:-  
 real estate consumers towards a particular company and consumer’s
Since subject taken is very vast so there are always possibilities that
something may not be forgotten to be mentioned. Data collected may
not be 100% reliable and accurate because fashion changes over time.
 3.DIFFICULT PATTERN:-  
 Topic is very vast. It is difficult to monitor the company and its pattern of
project development.  

FINDINGS
The findings of the study from primary sources have been analysed and
discussed in the following subsections: Phase II)1. Focused group discussion-
All the verbal and non-verbal responses to the questions were revisited by
watching the video recording several times. Then further decoded and
analysed for each objective of the study.
The findings of the Phase II questionnaires have been analysed using
percentages and frequencies. And responses to each question were mapped
against the most relevant objective of the study and discussed respectively:
Phase II) 2. 1 Survey Monkey Results for women from various industry sectors
and middle and upper middle class backgrounds.
Phase II) 2. 2 Survey Results for women from lower income class.
Phase II) 2. 3 Survey Results for men respondents.
Phase II) 3. Decoding Photographic references and case studies- The findings
and observations from each case study and plate were mapped against each
objective of Methodology 80 the study and enriched the discussion for the
respective objective with references and aided in building the models.

CONCLUSIONS
The Indian shalwaar-kameez and sari are different from the other national
costumes like the Japanese Kimono and the Scottish kilt; everywhere one goes
in India one will find women clad in these two classic styles. The fusion space in
which Indian silhouette inspiration as well as Indian textile inspiration are
interpreted in the form of Tunic kurta, vests, scarves and stoles, day dresses,
skirts, t-shirts, cotton sari paired with T-shirt aid in creating an interesting
contemporary wardrobe comprising worn and real garment for the post-
modern women for everyday wear.

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