Amit Aggarwal’s mini supernova

The designer explores hope, resurrection and a new identity in his latest collection, while adopting well-founded pricing

The designer explores hope, resurrection and a new identity in his latest collection, while adopting well-founded pricing

Things can change overnight, let alone over two years. Amit Aggarwal’s latest collection, Supernova, is aimed at the people who have emerged from the pandemic. “We are moving towards a new world,” says Aggarwal, 44. “I have seen people change around me; they have accepted that there is a struggle. But between these challenges, how are you still happy? How do you continue to develop?”

It is this sense of joy that lights up his Summer ’22 line. He has used three distinct color stories – bright pink, bright green and shimmering monochromes such as tin, gray, silver and mica. “Never before has the brand seen so many colors in a collection,” he shares. “It was a great challenge and risk to move away from our traditional palette of jewel tones or neutral colors. But people love it. It’s summer couture, so there are many occasions, whether it’s a wedding or an everyday celebration.”

Amit Aggarwal

The flexibility of the film

Aggarwal’s own ideas about showcasing fashion have also changed dramatically during the pandemic. He now prefers digital programs and movies. He deliberately chose not to be a part of the latest FDCI x Lakmé Fashion Week because “presenting on a traditional runway feels a bit contrived”, he says. “It would not come close to what I imagine the clothes and the environment to be. Movies help me get closer to how I like to visualize and present the clothes.”

In the last two years he has made several 10-minute films. He is currently busy creating one for his next big collection for Couture Week.

Floating gender norms

The Delhi-based designer has been talking about human evolution – “how your connection to the world has made you a more” super “version of yourself” – since last Couture Week. He connects the idea of ​​self-evolution with the phenomenon of supernova (when a star dies, it explodes and releases impossible amounts of energy). “All of us came to a point where we breathed our last, and yet we accepted ourselves completely, embracing that there is a uniqueness in each of us and that we shine with the hope of our individual personalities.”



The collection with 50 parts, with men’s and women’s clothing over couture, luxurious pretzels and classic branded garments, is developed around the star. Count on draped dresses, lehengas with structured blouses and modern saris with pleated, for tuxedos, vests and kurtas with draped trousers.

When collections become gender-fluid, Aggarwal says that he hopes that the concept does not go the way of sustainability – a trend word without any understanding of it. “I feel that gender fluidity as an idea has been created by the system. I do not look at such individuals. I have never separated a man from a woman,” he says. “I myself am from the LGBT community. I make clothes and it is something that a man or a woman chooses to wear; I would never check it. “

Retail after pandemic

The changing dynamics of post-pandemic retail are real, he says. But the only adjustment he has made is to define the collection schedule, make conscious decisions about how many styles to try and have a clear idea of ​​how to take it further. He opened a flagship store in Mumbai in the middle of the pandemic, so “I feel we are on the right track.” What he works with is a thorough understanding of the customer base. “How do you give them a product that is elevated, but not overly designed or produced?”

Crafts vs technology

Supernova’s design may look futuristic – with recycled rubber cords hand-embroidered on multicolored textiles created from hand-woven polymers – but Aggarwal emphasizes that no technology goes into its manufacture. “It’s just that we use materials that are not traditional. And because it changes the visual language, it can seem like it was created with a machine. ” But he does not discount technology in the future. Used wisely, something like 3D printing can add a design definition that could not be achieved by hand. “A mixture of both is something that would annoy me. But it will never lack human touch. Given that our country is one of the few in the world that has such a history of crafts, it is something I will never give up . ”

Informed pricing is the key. There may be times when he makes exclusive pieces that cross that mark, but “overall I think it is to understand the dynamics of the bottom consumer and the fact that they are conscious spending as opposed to what it used to be”.

How about connecting with business partners (as designers Tarun Tahiliani or Rahul Mishra have done)? “I’m going to keep it a little gray [for now], he says, explaining that his experimental design has paid off in the long run. “Until the right partner comes along who understands how the uniqueness of the brand can become a larger USP, I do not feel comfortable having someone on board.”

Available online and at flagship stores in Delhi and Mumbai. The Pret collection costs Rs. 18,500 to 58,000, and the couture collection from Rs. 85,000 to 2.85,000.


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