Facilitating fluidity, ease and movement, Punit Balana’s creations are as much a rage with Bollywood celebs as with a new generation of women who love to vibe with tradition and freedom of expression.
If clothes are an expression of one’s personality, then Punit Balana’s creations are an expression in creativity and culture, heritage and happiness. From Rajasthan’s famed embroideries to experiments in form and proportion, they appeal to the sentient consumer, who is also driven by the label’s commitment to conscious choices. Here, Balana breaks down the evolution of couture in India, fun silhouettes in the bridal landscape and more.
(Edited excerpts)
FL: What makes Punit Balana one of Bollywood’s favourite couture labels?
PB: I think it’s the brand’s seemingly contrarian attributes-our designs and creations are effortless yet make a bold statement. They are modest yet extravagant. They ooze a distinctively understated charm. Our design philosophy is progressive, but rooted in the traditional craftsmanship of India.
FL: If we dig into Punit Balana celebrity closets, what are some of the most loved creations?
PB: The list is exhaustive: the signature peplum jacket with a sari designed for Shilpa Shetty; the traditional marodi work anarkali designed for Alia Bhatt; the printed wide- legged pants paired with loose top designed for Nushrratt Bharuccha; the signature sharara kedia set designed for Kriti Sanon; the saris with belts worn by Tara Sutaria; the cape set designed for Aditi Rao Hydari; the printed skirt and shirt worn by Kareena Kapoor Khan are some of the most loved designs.
FL: Could you take us through the world of Rajasthani art and crafts that inspire you and your brand?
PB: I had moved to Jaipur to understand and learn the craft of Sanganeri block-printing. I found the process extremely interesting and inspiring and decided to pursue this. I started my career in Jaipur in a small karkhana where I made my own blocks for printing fabric. You will come across Rajasthani marodi embroidery, zardozi embroidery, bandhej and rabari print, coin work, and other popular block-printing techniques in my work. All my collections have a touch of Rajasthani art and craft, and most of them are also inspired by Rajasthani culture, heritage and the architecture of the beautiful monuments.
FL: Your label is committed to leaving behind a green legacy- what are the challenges?
PB: Our core beliefs are sustainability and the fact that we need to make conscious choices, that we need to make the earth a better place to live in, for ourselves and for the generations to come. The choices we make as a brand always align with our beliefs, and reflect in whatever techniques we use, in terms of dyeing, printing and more. At a time when the industry is adopting machines for faster mass production,
“Today, it’s all about the people, the planet and the purity of production. Luxury is all about mindfulness. I feel it’s the need of the hour and it’s high time that we actually follow sustainable practices in the fashion world.”
PUNIT BALANA
which also saves on the high cost of craftsmanship, we remain committed to reducing our carbon footprint. So, we make sure that we make utmost use of our history, and learn from techniques that our ancestors mastered to keep our heritage intact.
FL: How would you describe evolving conversations in the space of conscious luxury today?
PB: Today, it’s all about the people, the planet and the purity of production. Luxury is all about mindfulness. I feel it’s the need of the hour and it’s high time that we actually follow sustainable practices in the fashion world.
FL: What are the unique lehenga and blouse interpretations that have come out of the stable in recent times?
PB: Bandhani lehengas are very much in trend these days paired with bralettes. We ourselves have experimented with the cuts of blouses in our new collection, ‘Lakshmi’.
FL: How is the bridal couture wardrobe evolving in India? What are the influences?
PB: Indian weddings are all about lehengas and saris. It’s inspired by Indian art, crafts, culture, and heritage. The reception or the after-party and the sangeet and the cocktail looks have been Westernised with gowns coming into play. Events like mehendi and haldi have become more prominent like other functions and have special dress codes.
FL: How do you ensure to stick to distinctive brand language and identity in a world saturated with an overkill of brands and curated style guides?
PB: The Punit Balana label doesn’t define itself by being ethnic or tribal, couture or contemporary, but rather by the purpose the clothes have. In addition to the bridal/festive collections, the brand also launches multiple mini capsule collections of ready-to-wear garments throughout the year. The brand’s contrarian attributes are aligned with the brand’s design philosophy of movement and proportion, where every ensemble is designed to facilitate dance, movement, and ease. The brand’s aesthetic is defined by a return to the fundamentals of materials, prints, motifs and embroideries, and yet it marks a progression in terms of form and silhouette. With a focus on contrasting tones and colours, and a playful use of prints, patterns and shapes, the brand creates a vibrant design language that seems to be ever-evolving, yet remains rooted in principles of comfort and wearability. A sensibility of fluidity and ease sets the brand apart.
FL: How would you define couture? Where lies its value and appeal?
PB: For me couture is customised to suit one’s comfort. Its value lies in its unique design that is customised and no second piece of that piece is created.
FL: What will be some of the biggest influences/trends during the autumn-winter season?
PB: I think autumn-winter will be all about bright colours and Western silhouettes in comfort wear.
Text by: Aishwarya Chattoraj
