written by Sophin C
Image sourced from @bhavyarameshjewelry
What we choose to wear is consciously or subconsciously a deep reflection of our culture and history, infused with our modern being and aesthetic.
It is not a big revelation that just as we humans have evolved, so have the perceptions and creations of garments over time. Anthropologists claim that during the Stone Age, early man chose fur, animal skin, grass, and enormous leaves to cover themselves, making fashion “consciously” non-existent.
Analysing the present scenario, we can confirm the transition of man to brilliant beings, yet what they choose to put on their backs still has traces of natural elements reminiscent of those used during the Stone Age. In the name of modern fashion, many high-end designers flaunt animal skin, fur (faux as well), and flora motifs in their design vocabulary, suggesting that the body ultimately is covered with… well, fur, animal skin, grass, and enormous leaves.
Italian luxury brand Roberto Cavalli thrives on exotic animal prints, while Indian couturier Rahul Mishra seeks inspiration from nature, often sewing dewy and dainty florals, which have become a brand signature alongside many designers like Indian couturier Varun Bahl. Such is the evolution, repetition, and modernisation of fashion.
When fashion is represented at a global level, India does not hide behind Italian or French labels; style is something the country did not have to fight for or steal from the West.
India exudes rich diversity through myriad communities with disparate cultures, religions, practices, and social structures. The Banjara community, one of India’s prominent tribal groups, emanates a vibrant persona. This free-spirited nature of the Banjara community has an unmatched sartorial flair, which is deeply personal yet free for reinterpretation and reimagination.
This nomadic ethnic group mainly hails from parts of India like Rajasthan, along with Madhya Pradesh, Karnataka, and Maharashtra. Women of the Banjara clan are typically presented in their opulent-colored long skirts (Phetiya) and blouses (Kanchali). The intricate glass work embroidery and patchwork are signature to this community’s aesthetic. Both men and women adorn hefty silver oxidised accessories and are often seen layering multiple pieces of jewellery like thick choker necklaces, bangles (Patli), and anklets.
Ambling into the local markets of Delhi—Janpath—leads you into a paradise full of silver jewellery. Similarly, on a recent trip to Delhi Haat, I was enticed by a variety of oxidised jewellery—rings, earrings, cuff bracelets with charms, long and short neckpieces with precise detailing—sold by women right outside the main entrance.
Apart from India, oxidised jewellery also has its roots and is associated with other South Asian communities. The Kuchi tribal group of Afghanistan, for example, wore silver jewellery—headpieces and necklaces with hints of vibrant colours—akin to the Baloch ethnic group of Pakistan.
The Banjara sartorial spirit is carried in several ways in the modern day. Oxidised jewellery and clothing featuring embroideries and artisanship from the Banjara community have found their way into the hearts of audiences who don't hold back from experimentation or exploration. Chatting with Delhi-based fashion stylist and art director Prerna Narang, I learned how she explores the versatility of oxidised jewellery in her projects. “I would ideally style it with an anti-fit solid tunic-pant set, with heavy kohl in the eyes and a bindi.” Narang also reimagines her vision with a heavy arm stack, another prominent accessory from the community, with the modern-day staple ballet shoes or leather flats.
The Banjara community's clothing distinguishes itself through its intricate embellishments and detailing. Medha, a homegrown brand recommended by the stylist, features the artisanal Lambani mirror-work embroidery with cowrie shells. “Cowrie shells being used as jewellery has also become a common sight,” adds Narang.
Alongside Medha, brands like Banjara Trail also embody the Banjara craftsmanship. Labels have also come up with collections in the past that borrow inspiration from this tribal group, like Saaksha and Kinni’s (Indian clothing label, founded by Saaksha Bhat and Kinnari Kamat) 2020 Lakmé Fashion Week collection. The label’s grand final collection was an ode to the Banjara tribe’s strong, independent, and highly skilled women, featuring the signature mirror work in prints and embroideries.
Bhavya Ramesh, who runs her namesake brand, established in 2018, specialises in tribal jewellery. The brand’s initial designs were heavily influenced by the Banjara community. Ramesh shares, “The Hysteria Sunglass, Ear Wing Earrings, and Cosmic Avalanche, you’ll notice a strong connection between our designs and the essence of Banjara culture. The textures, symbolism, and functionality of their jewellery inspired me to create pieces that were not just decorative, but also meaningful with a deeper value. As we evolved, we began to reimagine these traditional elements by blending them with futuristic motifs and modern interpretations.”
The elements sacred to the ethnic groups are envisioned from a contemporary lens through their modern interpretation. Artisanship featuring embroideries and mirror work from the community is not only seen on Lehenga-blouse sets but also on modern tops, bags, jutis (flat shoes), and jackets. Delving into the contemplation of whether borrowing from the Banjara way of dressing leads to a case for cultural appreciation or appropriation, in creating more modernised fusion wear using the Banjara signature style, it presents itself to be more appreciative and personal than ever.
As brands openly state taking inspiration from indigenous communities, designers like Bhavya Ramesh also involve local artisans hailing from various communities, Banjara included. These artisans help bring designers like Ramesh’s vision to life. “They are instrumental in sourcing vintage coins, which are a significant part of our designs. The Banjara community has a rich tradition of incorporating such raw, traditional artifacts into their daily lives, and their expertise ensures authenticity in our creations,” she adds further.
Overall, the Banjara aesthetic in the sartorial context is free-spirited, much like the community itself.
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