Dressing forms from cultures around the world over the ages have found representation in designer Amalin Datta’s latest collection. Only, instead of creations in fabrics, the designer chose to express these influences in clay. Clad in Clay, a fashion and art installation show by the designer, presented by ITC WelcomArt Gallery and Sharbari Studio, on August 1, showcased 10 sculptures by Amalin, each of which has been drawn from one particular dressing style, shaped by the designer’s imagination.
“During my travels to different places, I have always observed the traditional costumes of people of different cultures and I wanted to interpret them in my own way, kind of introducing elements of my imagination in them. This show is a culmination of all these ideas,” says Amalin.
THE SCULPTURES
Mayan Mannequin: In the Central American Mayan civilisation, robes were made of leather and tree bark. It gives the impression of a stitched garment but is a piece of cloth draped in a way to give it shape and definition. Ancient tribal motifs have been etched on the garment. The masks are African.
Artist speak: “I have done the sculpture with a mannequin feel — a robe draped on a mannequin,” said Amalin.
Sinhalese Fusion: Inspired by the traditional Sinhalese angarkha, the sculpture portrays the sense of geometry that’s typical of the attire. The squarish flaps and sharp lines bring out the angular nature of the traditional Sinhalese garment. The hem is cut in multiple slits in different layers. Oriental influences have been fused with the Sinhalese cuts, in terms of a Chinese collar. The lower part of the garment has mixed scriptures from different cultures.
Artist speak: “I had seen a Ramayana in batik in South India where Hanuman was wearing a traditional Sinhalese angarkha. That image remained in my mind.”
Devotee’s Drapes: An interpretation of the garments worn by people working in the monasteries of South East Asia. Traditionally made of thick animal hide or wool with fur trimmings, the attire consists of long overcoats with wide sleeves and loose pyjamas. Metal shields on the shoulder and metal and leather jewellery accessorise the garment.
Artist speak: “I have seen this kind of an attire in people who work for the monasteries; people who work very hard in the forests and mountains.”
Fairy Teal: The good fairy from the world of fairy tales finds interpretation in this flowing angelic gown. Her wings on her shoulders, her pet dragon and weapons beside her and geometric motifs embellishing the gown bring out her sense of power, while the teal blue colour highlights the angelic feel.
Artist speak: “It’s a very unrealistic look. It’s all for my visual satisfaction. For the motifs on the gown I have used inspirations from hinges of wooden chests.”
Power Dressing: The signature look of the British lords of the 18th century, exemplified by Lord Clive’s style of dressing, has been reimagined by the artist. While the basic look has been kept intact — the long overcoat worn over shirt and waistcoat, with smocks, elements of ornamentation have been used to make the look grander.
Artist speak: “I have been very influenced by the costumes of the British lords like Lord Clive. In this installation I have used my own fantasies to make that typical look very elaborate.”
(L-R) Kanaklata Datta, Rituparna Sengupta, Amalin Datta and Mir at Clad in Clay. “It was very nice to see the sculptures and how beautifully they were set up. Amalin has done a commendable job. My association with the brand Sharbari goes back a long way as my husband got married wearing their creation and he has worn their clothes many times. I love how they use bright colours yet manage to make it look so subdued,” said Rituparna. Mir, the emcee for the evening, was all praises for the installations. “Clad in Clay was perhaps one of the best representations in recent times of the union of art and ethnic style. Amalin is a magician and Clad in Clay was his wonderland,” said Mir.
“Clad in Clay is a very fine example of the fact that art and fashion don’t need to be a complicated relationship. What’s clay, what’s wearable art? For me it appears that Amalin Datta has mastered the transition and amalgamation of creativity in the field of sculpturing into beautiful fashion and vice versa,” said deputy consul general of Germany, Jürgen Thomas Schrod, who inaugurated the exhibition along with Atul Bhalla.
“WelcomArt, ITC Hotels’ initiative to promote creative excellence brings you Clad in Clay. This offering by Amalin Datta blends his art with fashion, creating unique installations,” said Atul Bhalla, area manager east ITC Hotels and general manager ITC Sonar.
Text: Smita Roy Chowdhury
Pictures: Pabitra Das
