Beyond the Runway
The author recounts the genesis of their book, 'Stories We Wear: Status, Spectacle and The Politics of Appearance,' articulating a desire to move beyond
the superficialities of fashion reporting. While a prior work, 'Powder Room: The Untold Story of Indian Fashion,' earned the author a critical reputation, the new book aims to explore the far-reaching implications of clothing in defining nationhood, personhood, and the very fabric of human experience. This ambitious undertaking stemmed from a career in journalism that spanned diverse roles, from reporting on gender and investigative stories to editorial leadership, all of which informed a deeper understanding of how attire serves as a conduit for identity and a lens through which to view marginalized communities and the broader societal landscape. The author emphasizes a need to capture the essence of life, the mind, and the material world in a way that traditional fashion journalism couldn't fully encompass, highlighting a persistent feeling of something missing despite the challenges and rewards of editorial work.
Appearance as Power
The author introduces the concept that appearance is far more than mere clothing; it's a complex interplay of visual cues that carries immense weight. Drawing a parallel from a French court case where a victim's composure and attire were noted by reporters, the author illustrates how personal presentation can bolster self-confidence, especially in challenging circumstances. This perspective reframes 'fashion-fashion' – the superficial trends and designer labels – as just one facet of a much larger, existential phenomenon. Appearance, in this broader sense, encompasses class, caste, societal context, and the emotional states of individuals, whether they are experiencing triumph or despair. It's about how we project ourselves through language, body posture, and deliberate choices, all of which contribute to our overall presentation. When viewed as a system, a negotiation with self and society, fashion gains a more profound significance, moving beyond fleeting trends to touch upon deep-seated issues of power and identity.
Reporting's New Horizon
The author explains the crucial decision to take a six-month sabbatical from their editorial duties to finalize the manuscript for 'Stories We Wear.' This period was essential as balancing a demanding full-time job with the in-depth research and writing required for the book proved unfeasible. The author recognized a need to fundamentally alter their approach, demanding a more rigorous self-critique and a deliberate stepping back from conventional fashion discourse. The core journalistic instinct, however, remained paramount. The author needed to dedicate more time to engaging deeply with individuals and their narratives. Unlike journalism, which often necessitates concise and definitive arguments, writing a book allows for the exploration of ambiguity, digression, and prolonged reflection, keeping discussions open-ended. This slower pace of creation, while challenging, provided invaluable insights, reinforcing the difficulty of fully capturing every story with the precise depth of understanding required.
Voices in the Narrative
The book, 'Stories We Wear,' is populated by a diverse array of individuals encountered across India, offering a rich tapestry of human experiences. The author shares encounters with Central Industrial Security Force officers at airports, whose observations are shaped by their dual roles of surveillance and passenger profiling. Doctors in burn units recount the devastating impact of flame and acid injuries, emphasizing the often incomplete nature of rehabilitation. Survivors' stories of rebuilding their lives are also central to the narrative. In stark contrast, the author describes the quietude of khadi spinning villages in West Bengal, which illuminated the complexities behind the government's efforts to revitalize khadi, raising questions about heritage preservation versus commercial adaptation. Conversations with figures like Magsaysay Award winner Bezwada Wilson, who leads the Safai Karamchari Andolan, confront the nation's hypocritical stances on manual scavenging. The book weaves a strong feminist thread, investigating caste and class inequalities, and tracing arcs from small-town rebellions in films like 'Bareilly Ki Barfi' to the rise of the anti-heroine in digital content and the phenomenon of designer Masaba Gupta, reflecting a search for nuance rather than simple conclusions.
The Green Conundrum
Despite the author's intention to move beyond a singular focus on fashion, many readers perceived 'Stories We Wear' solely through that lens, a testament to their established reputation as a fashion journalist. However, the book's reception across various media—newspapers, magazines, podcasts, and excerpts—reveals a broader engagement with its themes, suggesting that the public's understanding of fashion extends beyond the purely aesthetic. The chapter titled 'The Devil Wears Green' is highlighted as an example of this expanded perspective. It critically examines the concept of greenwashing within the fashion industry and the increasingly prevalent use of moralistic language around sustainability. This section features conversations with prominent figures like Orsola de Castro, co-founder of Fashion Revolution, alongside designers such as Sudheer Rajbhar of Chamar Studio and Bhavya Goenka of Iro Iro. The discussion probes the notion of sustainability as a performance and the critical need to differentiate between genuine environmental efforts and mere marketing tactics, especially within the Indian context, while also addressing the policies and shortcomings of global fashion brands.
