Aneeth Arora’s Pero’s spring-summer 2023 collection ‘Forget Me Forget Me Not’ is like a lilting melody. Ever so calm and almost like a painting. Rendered lovely with crochet, laser-cut fabrics, beadwork, stumpwork, patchwork, appliqué, cutwork, schiffli and prints, florals are the hero. We spoke to Aneeth recently about the collection and more. Excerpts.
What’s the idea behind the name?
We decided to work with these two flowers… daisies and forget-me-nots. Both these flowers are in some way or the other very romantic. And if you know of this game with daisies which is, Love Me, Love Me Not, which all of us might have played at some point... we thought we’ll do a little pun on that by using Forget Me Forget Me Not because it was the other flower that we were using. It was just a poetic way of using the name of the two flowers. And when we repeated by saying Forget Me Forget Me Not, it has an immediate connect with daisies where people used to say Love Me, Love Me Not.
Everything you do is so beautiful, yet it has never gotten boring. What is your creative process?
We work with a rigorous research process, which goes on for three months before we actually start working on a collection. It’s the process which makes the end product unique because we explore every bit that has been explored or covered or done in that category. We also research history and background. (In this case), there was research done on all stories about these flowers, and how people used to use them in their clothing. After researching, we decide how to use them on the garment which is a mixed media technique.I feel no two seasons look alike because we give ourselves a mixed palette and then we start playing around with it. It’s the same thing we do with fabrics also. We develop fabrics in different parts of India. Then we start mixing them.
You have studied both design and textiles. How has it helped you in creating your own aesthetics?
When I was studying at NIFT, I always felt the need to know my medium better. That is when I applied for textile design at NID. It gave me confidence and made me realise that if ever I start a clothing brand, it has to be from scratch. I wanted to make my own fabric and then workon it. I also think it’s acomplete feeling.It’s almost like an artist who can weave his own canvas and then paint on it.
How has your internal dialogue with yourself and the language of the brand evolved over the years?
There has been a constant conflict. We started as purists. The first collection was completely hand-sewn and natural-dyed. But when people started responding to it with so much love and there was a lot of demand, it led to becoming more practical.Having said that, we have never compromised on our initial philosophy where we know that we will always work with natural fabrics and Indian crafts and techniques.In the first few seasons, we never did embellished garments. For us, the weaves and the textiles were embellishments. The first time we did chikankari, we realised that people appreciate embroidery. I think with time, the evolution has been that the techniques are now endless.I feel there is no dearth of inspiration in India. People often ask me if I think I will run out of ideas. That should never be a fear because there is inspiration in everything you see and hear. Even the food that you eat. That’s why I tell myself, another season, another challenge and hoping for another unique approach to it.
Where do you go when you are seeking knowledge?
For me, the process is really important. As an artist, the emphasis is always there. Whenever I have to search for something that will motivate me and nourish me, it is mostly through travel. Also, I always say that I travel through my books and have a huge library. If I am not able to travel to any part of the world, I have that in a book with me, although it is nowhere compared to real travel. I also like to stay in touch with what’s current and what’s ongoing in the field of fashion, clothing and textile. That is something which keeps me going.
Do you have a favourite medium or technique?
The major bit of it is weaving and what I love about it is that there is no end to what you can achieve on a loom because there are millions of permutations and combinations. It comprises the major bit of the fabrics that we do. A big part of it is woven textiles and we do varied woven textiles from different parts of India. There is no end to how much you can innovate with the woven.
You also work with artisan clusters in Bengal...
Those were our initial few collaborations. Eventually, we went out to Chanderi in Madhya Pradesh and south of India.
You have made craftsmanship cool, chic and modern. Do you think now is the time to wear craftsmanship more than ever?
I would say be yourself and be true to what you want. The moment they believe in that, whatever they put out in the world, will be original. And, I think you are right. More than ever people are embracing themselves, accepting who they are and facing themselves.
Have the craftsmen revived fully from the after-effects of the pandemic?
With the people involved with us, we never asked them to stop work. They were continuously weaving for us because they were lucky enough to be in their homes and weave for us. Even though we did not have those many orders, we never cancelled any orders and there are these times of the year when they expect orders from us. In February we send them the sampling for the next spring. When I met them they were happy and grateful to the universe that things didn’t really affect them much.
As someone who works with handicrafts, is that what should be put forward as a real luxury?
We have always looked at handicrafts as a luxury. What we do, we call it wearable couture because there is a lot of handloom that goes into it. I wouldn’t shy away and say that it’s not very cheap. So, the fact that it goes with so much detail and it is so unique, does make it a luxury. So, when people own it also, they treat it like a luxury. It is like an heirloom piece which they can keep passing on and will stay in their wardrobes for years to come. What we are offering to them was offered to them keeping in mind that it is affordable luxury and they have accepted it like handmade luxury and cherished it like that.
What is the direction you see the label taking in the coming years?
I always go by the motto of slow but steady and we have taken one day at a time, one season at a time. It gives us a lot of time to think before we make the next move. You used the word ‘organic’. We have been growing organically and it has been an effortless journey. We are in a happy place.
