Anju Modi’s new collection Virasat is an ode to Madras

Anju Modi’s new collection Virasat is an ode to Madras

For designer Anju Modi, every time she visits Chennai, it feels like homecoming. When she started her eponymous label in 1990, Madras was her “epicentre” for all things fabric-related. “This was my base when I used to go to nearby villages, towns and cities like Salem, Coimbatore, Kanchipuram, and Venkatagiri (Andhra Pradesh), and stay with weavers in their homes. Their culture, temples, and even things like the kolam that they draw every morning, reflect in the fabric they weave. And these have stayed with me,” says Modi, whose new collection Virasat is an ode to Chennai. Virasat, which translates to legacy, was launched, over the weekend, in collaboration with city-based legacy jewellery brand Vummidi Bangaru Jewellers, at an event at the Leela Palace Chennai.

“VBJ is a 125-year-old brand. For this collaboration, they were looking for a designer who understands the heritage of the South, especially Tamil Nadu. And I have been working with clusters of weavers in the region, so the whole thing vibed well with our ethos,” she says.

While Vummidi showcases the jewellery at their stores, Modi’s garments are on display at Evoluzione. “I have been coming to Evoluzione for 30 years. I am also very much in love with the people of Chennai. They are value- oriented and evolved. They don’t get influenced by the glam factor, they are classic in their choice,” she says.

The collection features saris, lehengas, anarkalis, jackets and lehenga saris (a fusion of the two) in Kanjeevaram silk, georgette, tussar, mashroo silk, Kota tissue, Chanderi, crinkle tissue, brocade, and velvet. Craftsmanship shines through in the form of zardozi embroidery, and traditional adda work. Vummidi does temple jewellery, and keeping that in mind, the designer has used intricate embroidery that draw inspiration from temples. Tones of emerald and gold have been used in the garments to match the temple jewellery pieces. There is bridal wear in red and gold, and rose colour drapes to go with rose cut diamonds. “They also designed the jewellery line with my colour scheme. So it was collaboration in the real sense and we took over two months to complete it,” says the doyenne of couture.

Thirty five years in the industry and Modi is still passionate about her craft, and working with weavers. From Gujarat and Madhya Pradesh to Uttar Pradesh, she has been working with 25 clusters and in many cases with three generations. There is an endearing tone in her voice when she talks about the weaving communities. “You see, initially the weavers were disillusioned. People had forgotten about woven treasures and were going for mill-made fabric and clothes. I helped revive this handwoven legacy. Now consumers have started understanding the beauty of it,” she says.

After a prolonged episode of weavers’ children leaving their family business and moving to other cities in search of jobs, Modi says she is finally seeing a reversal happening. There is a certain pride about being self-employed and taking up a family business and this is what many of them have realised. “Now, the children of weavers are going to NIFT (National Institute of Fashion Technology) and learning fresh trends and getting equipped with the latest technology. Design inputs are coming from the younger generation. They work on computers, have email IDs, can work out the warp and weft on computers and implement them on looms. From Delhi I can email weavers in Bhuj and other cities and villages,” she smiles.

Even though these technological advancements were unthinkable in the 90s, Modi reminisces travelling back and forth on buses, trains, and cars to meet and work with weavers. “But that was another level of experience; I enjoyed it,” she says, adding, “That way, you could see a country at the ground level, people’s living habits, the rains, the heat..., and one needs to absorb it all to be part of that culture.”