HELLO! India Exclusive: The wizard of haute Indian heritage

During his student life, when Pankaj S. Chadha was still drawing, painting and doodling, his art teacher shared a few words of wisdom that continue to be the bedrock of how he functions as an aesthete till date. “Pankaj, it’s not enough to just practise an art in the form you enjoy. Take it out to the world so its beauty is witnessed, but also ensure that its authenticity isn’t mutilated, and the novelty is retained,” Gayatri Sanyal, an elegant Bengali woman, had remarked. Although this happened many moons ago, the designer shows you around his New Delhi atelier with the same excitement and passion of an eager learner, exhibiting precisely why all that we see around us in the moment is the translation of that very lesson from his guru.

As he ardently presents the precious artefacts he has collated from across India, Pankaj patiently explains the intricate details and etymology of the heritage embroideries embellishing his creations, and why some collections were conceived. “Pankaj S Heritage is the culmination of the dreams and aspirations of that young boy who prodigiously painted in his drawing book. I still do that!” he says, animatedly. “Today, I’m constantly motivated to make the sketches a reality through the finest couture steeped in magnificent artisanship.”

In the current zeitgeist that panders to instant gratification, exhibitionism and easy fame, Pankaj’s evolution as an artist who celebrates the legacy of Indian heritage crafts has been gradual, which he believes is “the only way to sustain the kind of work we do. In a scenario where a couture brand perhaps thrives on the number of products sold, we steer clear of that game. For instance, we sell only about 30 chikankari creations annually. But the neatness in each motif reflects the finesse of our age-old embroideries, which is hardly seen today

“The idea is not just to make and sell. It’s to showcase such needlework on exquisite textiles that’d make the connoisseur gasp in awe, and aspire to own such a piece of heirloom. This can only be achieved with patience and perseverance,” he explains.

AN ADVOCATE OF ARTISANSHIP

Pankaj has been balancing his role as an artist and showman since he launched his label in 2018. While he may have begun as a designer and eventually taken on the painstaking work of a revivalist, today, he prefers to call himself a curator. “The brand makes the finest couture, but our duty transcends mere commerce. Although it’s heartening to see our creations appreciated, there’s an added responsibility of identifying and nurturing artisan clusters, so they raise the bar of craftsmanship.

“We keep hearing that children of artisans don’t want to continue in the field. This dialogue requires immediate discussion in fashion circles. Designers have to nourish such artisans so that lopsided market dynamics don’t eat into their livelihood. At Pankaj S Heritage, this is one of our primary activities. We adopt clusters and strengthen them because the goal is to revive the crafts India was once celebrated for the world over.”

Presently working with nearly 15 artisan clusters in Srinagar, Lucknow, Rampur, Jaipur, Udaipur, Murshidabad, Burdwan and Kochi, the brand is a stickler for quality over quantity. Given the extent of work that’s rendered on handwoven textiles, Pankaj highlights the long gestation period of such creations. Take, for instance, the hawa ka kaam embroidery that the atelier brought back into couture; it needs absolute precision and dexterity. 

“This technique involves running the needle in air, literally! Earlier, people had ample time to take up this craft. When we encouraged artisans to practise it again, there was initial scepticism on whether it would find takers, and also whether anyone would be willing to pay for the manhours invested. Thankfully, we’ve reached the kind of audience that’s willing to understand and appreciate what goes into the ensembles we create — which is why the price tag has never been an issue in this journey of client consolidation.” As he eleborates on the craft, Pankaj shows us the sublime hawa ka kaam on a pale pink jacket. Closely resembling a spider’s web, it’s baffling to imagine how a human hand could deliver such artistry. “We commissioned this embroidery to the artisan with scepticism. After some tremendous response and many versions of it later, we now tell clients to wait till we get new pieces ready!”

A TREASURE TROVE OF CRAFT

The brand’s creations rarely ever represent a single craft. The designs bring together works from across India that result in heirlooms and collectibles of sorts. “Take, for example, this 400-count muslin saree,” he presents. “The fabric was handwoven in West Bengal by weavers known for their expertise with the finest jamdani muslin. It was sent to Lucknow for the do-taar chikankari, which took months because of the extremely delicate base. Next, baadla karigars of Rampur worked on it, after which we got intricate gota patti work done on it from Rajasthan. The creation was finished with beetle wing detailing. If this is not a celebration of what Indian crafts has to offer, I don’t know what is!”

Such deconstruction of heritage Indian embroidery reveals the designer’s sensitivity towards the arts — a respect evident in the couture heirloom pieces crafted at the atelier. It’s also become the space where the aesthete spends most of his time, reflecting on inspirations that urge him to create.

“The other day, someone walked into the atelier in a lovely black silk Gadwal, accessorised with intricate jhumkas and a small black bindi. The moment she sat down, I caught scent of the fragrance she had worn. An artist derives creative stimulation from just about anywhere. I can’t forget the vision she was. Perhaps when I sit with my sketchbook now, her aura will influence me to create something beautiful,” recalls Pankaj, who has always enjoyed the work of the late Rohit Bal for his loyalty to lush Kashmiri embroidery. “I’m also extremely taken by the design philosophy of Daniel Roseberry, Creative Director of Schiaparelli, in how he bridges the gap between an art form and clothing.”

TAKING ROOT

Born and brought up in Delhi, Pankaj armed himself with a fashion design degree from NIFT before launching a label for populist fashion. A few years later, he developed an itch to channelise his creativity into a realm that would focus more on India’s ancient craft traditions. So he researched and documented embroideries that royalty and nobility patronised, before incorporating them onto handwoven fabric, giving his creations not just the glorious stamp of being handcrafted in India, but also making them aspirational, museum-worthy creations. 

“We want to educate patrons when they walk into the atelier. I take them through certain elements that make this space more than just a couture studio. It’s also about educating people about the history of these crafts so they value this heritage. Revival is a time-consuming affair that requires a supportive audience for a sustained future,” explains Pankaj, showing us a wall hanging with different embroideries, each accompanied by an explanation of the process and place of origin. 

It’s evident why the design virtuoso focusses on single-piece ensembles that would stand out in the melee of massy, ostentatious fashion: each piece is made with utmost attention to the minutest detail. The goal: to be a custodian of artfully done garments that showcase the wizardry of award-winning artisans, master weavers and miniature painters.

“I’ve had eminent personalities wanting spectacular pieces immediately, but I’ve declined them as my designs take time to come to life. Our karigars create only a few good works in a year, so that the end product is something to behold. Be it the vasli, danka, kaamdani, chikankari, gulkari, maal ka kaam, aari, marori or the miniature paintings that get framed in silver to be sewn on a jacket or blouse,” says Pankaj, holding up a prussian blue satin saree with a jungle scene done in gulkari, which would appear to be a miniature painting if not seen from close quarters. “There are just six artisans working on this embroidery. How do you rush them to mass manufacture something like this!?”

For all his fascinating work, the couturier isn’t too keen on the celebrity dressing route to garner visibility — quite unconventionally. “Stylists approach me to source garments for celebrities, but I wonder whether they even care about what they are wearing. I want my creations to be owned and worn by people who understand and appreciate the meditative effort behind our work. I’m not in favour of positioning Pankaj S Heritage as a mere option among other brands, and not as a selection made out of love, respect and admiration.”

“There’s also power in saying ‘no’ because it’s a matter of principle regarding how you want your brand to be celebrated,” the craft maverick signs off.

This story was featured in the Vol 1. Issue 5 of HELLO! India. For more exclusive stories, subscribe to the magazine here.