CHANGING BUYING BEHAVIOURS IN THE INDIAN AUDIENCE
Talking about identities and their importance, our personal image is often linked to the image projected by the products that we buy. Consuming has become much more than just an acquisition of necessary material goods, which in itself is not inherently bad. Everyone needs to know and assert as to what they do has some meaning and create some value.
Change in spirit leads to a change in consumption patterns and viceversa. Our consumption patterns are so much a part of our lives that to change them would require a massive cultural overhaul or an economic shift. And this has been made possible with the government policies like demonetisation and GST. It has brought about an economic reconditioning among the masses. Consumption model has changed noticeably and so has the designing model.
Since currency flow had been almost blocked causing consumers to buy with caution, the garments trending the runway and streets this season are mostly inspired by minimal layering resulting into single piece ensembles. In consumer society of the last decade, people would replace their goods with newer ones, use them and throw them away. The question of repair would never arise when people had the buying capital. However now the idea of preservation is catching up quickly and therefore the prints and colors are timeless in appeal and presentation. When the life cycle of trends gets shorter and the price gets higher, there’s comfort in investing in the long-game, spending on pieces that have withstood time.
Demonitisation had an impact on both organised and unorganised sectors of the fashion industry. In the short term, both offline and online retailers have experienced a dip in sales; but at the same time, adoption of cards and digital wallets has increased. Belief in cash has gone up but lack of thereof is widely accepted with people reverting to Paytm. This has perhaps led to a rising sense of wistful reminiscence for simpler, pre-smartphone times, and it surfaced through the return of familiar trends and designers reviving their greatest hits.
It may not have made for the most agenda-setting fashion, but there’s no doubt it is creating a feel-good balm in a year worth of nonstop news that covered devastating natural disasters, sexual harassment and economic upheavals. Gold and silver nuances are trending the markets. There is demand for lustre in clothes and products tapped by designers Abraham and Thakore and Raw Mango.
The wave of nostalgia well paired with craft integration is well reaped by Gaurang Shah in his latest collection of old brocades and light silks.
Already reeling under this cash crunch, labour intensive workers and farmers have shown a rise in migration patterns on the domestic front. This migration has resulted furthermore into a cross cultural exchange leading to an accidental outbreak of amorphous designs and prints into fashion trends. Revival of crafts is seen taking the spotlight where folk art and craft is influencing the charts. With indigenous cultures coming into forefront, designers like Madhu Jain and Paramparik Karigar are dabbling with crafts as their main design offerings in saris and suits. Nikasha and Masaba have brought about experimental draperies in dual tones and the prints are effervescent in appeal. Western silhouettes are brought back in style by Mogachea with kediyos and pants while Ka-sha’s collaboration with Craftmark is to bring kota doriya as a fabric to the masses.
from left to rightHandloom Weaving | Sujani craft | Sustainable huts of Kutchch | Frugal Innovation (jugaad)
1 1. Raw Mango , Cloud People || 2. Gaurang | LFW Winter/Festive 2018 || 3 & 6. Abraham & Thakore | LFW Winter/ Festive 2018 || 4. Madhu Jain | LFW Winter/ Festive 2018 || 5. Ka Sha | 6. LFW Winter/ Festive 2018