Fashion faux pas in ‘Firangi Pani’
In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so.” These pearls of wisdom shared by Anton Ego, the ruthless food critic in Pixar’s runaway 2007 animated hit Ratatouille might find little resonance when discussing the Olympic ceremonial outfits sported by Team India in the fashion capital of the world.
For the past one week, netizens as well as closet fashionistas and influencers have been raining brickbats on the official uniforms worn by the 117 Indian athletes at the opening ceremony of the Games held on the River Seine. The ensemble incepted by the acclaimed Delhi-based couturier Tarun Tahiliani, in collaboration with Tasva, a premium affordable apparel label, has been lambasted on various fora for having missed an opportunity to celebrate Indian craftsmanship in the international arena. The ikat-inspired tricolour kurta-bundi and sarees, coupled with a pair of shoebite-inducing golden sneakers, prompted criticism on account of the ‘uninspired, tacky and jingoistic representation’ put together by India’s haute couture honchos. What’s troubling is that this is the first time a designer has been roped in to conceive the official ceremonial attire for Team India, which is now being viewed as a squandered assignment.
Former badminton player Jwala Gutta pointed out that not all women players might be adept at draping a saree, which made the case for the creation of pre-draped sarees. Terming the look and feel of the outfits as a work of mediocrity, she said the sporting fraternity should stop compromising on the presentation of our sportspersons, both on court and off-court. Her point seems valid when one considers the line-up of uniform makers for this year’s Olympics. Ralph Lauren represented the US; Berluti crafted the French uniforms; Emporio Armani put its weight behind the Italian contingent; Team UK’s outfit was put together by menswear designer Ben Sherman; and Canada was represented by Lululemon. Tahiliani has since defended his creations saying his team had just about three weeks to make 300 outfits, which ruled out the possibility of heavy embroidery.
But it’s not just a matter of having deep pockets that is at play here. Team Mongolia’s artfully-Spartan ensemble emerged as a sight for sore eyes, and they were working within a fraction of the budget coughed up by India. What seems to be ailing our design aesthetic is a reliance on the tried and tested, ‘all work and no play’ approach to Olympic uniforms. The evolution of the attire has seen little change over the past several years. Men are saddled with blazers, bandhgalas or
sherwanis, while women are expectedly decked up in sarees, overshadowed by blazers that defeat the whole purpose of the ensemble.
One could attribute this conservatism and solemnity in uniforms to the babu culture that is all pervasive in India’s Sports Ministry, which has the final say in all such matters. It might do our bureaucrats and politicians some good to get off their high horse, and consider such feedback in a sportive manner, in keeping with the mood of the season.