CREATIVE SOLES
A
growing number of shoe designers are stepping out in India today, having found
their feet in a largely, export-driven leather market. While their products,
which range from ethical to humourous, may vary, they’re all giving the
discerning Indian shopper a great alternative to foreign footwear.
PROFILE
OF FOUR DESIGNERS
NAYANTARA SOOD
Her
ballet flats have become a trademark for label Taramay, hopes one day to become
an Indian global brand
The understated elegance of a pair of Taramay ballet flats mirrors the personality of creator Nayantara Sood. “There are enough shoes in the market with an overdose of bling,” she says. “I want to make shoes that look good.”
From her signature, delicately-studded square-toed ballet flats to the statement Eiffel Tower flats in dull gold, strapped over with the tower in soft black sequins, Sood’s exquisitely-crafted, soft leather creations are steps ahead in a retail space dominated by ostentation. And to think the designer, who trained in footwear at the London College of Fashion, has never coveted shoes herself. “What I like about shoes is it’s a controlled canvas,” says Sood, who has a high regard for precision and is exacting about the toe cleavage shown (“every millimeter counts”). She quotes the high priest of heels Manolo Blahnik saying it’s as much about hiding the foot as it is about revealing it. She believes shoe design must be taught. “The anatomy of a foot is technical,” says the designer who ensures the finishing of her work is of international standards, sending pairs with even a small scratch back. “You have to see the quality even before you put it on,” she says. Her label Taramay — a combination of her name and birth month — was launched in 2011, when she moved back to Delhi. Initial collaborations with designers like Ritu Kumar for fashion week helped her connect with buyers, but she says her greatest challenge was sourcing suppliers and manufacturers for her “low-volume, high-quality business”, a rarity in an export-dominated market. Today Taramay is available at multi-designer stores Ensemble and Evolv. The website does good business, with orders from Ludhiana to Chicago, and Bhatinda to Japan. Sood’s collections focus on the classics — “Bright colours for summer and richer tones for winter.” Her new range is a mix of textures and prints, polka dots and nautical. Wedge espadrilles did well last summer, so she’s doing wedge heels with peep toes, pumps and T-bar sandals. She’s incorporated seasonal trends like exotic skin replicas which she’s never worked with before. “The print was a very subtle version of what you usually see,” says the designer, who downplays the comfort descriptor given to her shoes, but emphasises that every sample is repeatedly tested before being finalised. She’s toying with the idea of zari-embroidered ballet flats, but Sood says Indian shoppers are enthused by her discreet designs, priced Rs 5,000 upwards. (Some sandals are less, and Sood is also planning an affordable range of Tara flats.) The craze for monogrammed brands notwithstanding, she believes discerning shoppers seeking the “next big thing” are growing in number in India, and wants Taramay on their list. She recently launched the first Taramay store in Delhi’s Meherchand market, with over 60 styles and her first collection of bags. It’s a step towards building Taramay into an Indian global brand, for which her marketing background will prove handy. “People told me to start it as an export brand because I’d make lots of money. But I thought, if I want to buy a pair of shoes here, where will I go? There’s nothing,” she says, hoping she can change perceptions Indian shoppers have about local merchandise.
The understated elegance of a pair of Taramay ballet flats mirrors the personality of creator Nayantara Sood. “There are enough shoes in the market with an overdose of bling,” she says. “I want to make shoes that look good.”
From her signature, delicately-studded square-toed ballet flats to the statement Eiffel Tower flats in dull gold, strapped over with the tower in soft black sequins, Sood’s exquisitely-crafted, soft leather creations are steps ahead in a retail space dominated by ostentation. And to think the designer, who trained in footwear at the London College of Fashion, has never coveted shoes herself. “What I like about shoes is it’s a controlled canvas,” says Sood, who has a high regard for precision and is exacting about the toe cleavage shown (“every millimeter counts”). She quotes the high priest of heels Manolo Blahnik saying it’s as much about hiding the foot as it is about revealing it. She believes shoe design must be taught. “The anatomy of a foot is technical,” says the designer who ensures the finishing of her work is of international standards, sending pairs with even a small scratch back. “You have to see the quality even before you put it on,” she says. Her label Taramay — a combination of her name and birth month — was launched in 2011, when she moved back to Delhi. Initial collaborations with designers like Ritu Kumar for fashion week helped her connect with buyers, but she says her greatest challenge was sourcing suppliers and manufacturers for her “low-volume, high-quality business”, a rarity in an export-dominated market. Today Taramay is available at multi-designer stores Ensemble and Evolv. The website does good business, with orders from Ludhiana to Chicago, and Bhatinda to Japan. Sood’s collections focus on the classics — “Bright colours for summer and richer tones for winter.” Her new range is a mix of textures and prints, polka dots and nautical. Wedge espadrilles did well last summer, so she’s doing wedge heels with peep toes, pumps and T-bar sandals. She’s incorporated seasonal trends like exotic skin replicas which she’s never worked with before. “The print was a very subtle version of what you usually see,” says the designer, who downplays the comfort descriptor given to her shoes, but emphasises that every sample is repeatedly tested before being finalised. She’s toying with the idea of zari-embroidered ballet flats, but Sood says Indian shoppers are enthused by her discreet designs, priced Rs 5,000 upwards. (Some sandals are less, and Sood is also planning an affordable range of Tara flats.) The craze for monogrammed brands notwithstanding, she believes discerning shoppers seeking the “next big thing” are growing in number in India, and wants Taramay on their list. She recently launched the first Taramay store in Delhi’s Meherchand market, with over 60 styles and her first collection of bags. It’s a step towards building Taramay into an Indian global brand, for which her marketing background will prove handy. “People told me to start it as an export brand because I’d make lots of money. But I thought, if I want to buy a pair of shoes here, where will I go? There’s nothing,” she says, hoping she can change perceptions Indian shoppers have about local merchandise.
SONAL NERURKAR
ROHAN
ARORA
Rohan
Arora’s handpainted signature style reflects an Indian aesthetic and global
humour
Once you’ve seen a pair of Rohan Arora shoes, it’s quite likely you’ll never forget them. Quirky, colourful — sometimes even OTT — and unique, Arora’s shoes are perfect for a woman who is confident and isn’t afraid to stand out in a crowd. His bright and beautifully detailed jootis are perfect for Indian wear while his handpainted shoes with Gabbar Singh and Thakur from Sholay are definite conversation starters. His Blue Classy Oxford shoes are as distinct as comfortable. Understated isn’t a part of his design vocabulary as he dabbles in a variety of materials, like brocade, pure satin, sheep skin, silk and handwoven khadi.
The 27-year-old commerce graduate from St Xavier’s, Kolkata was wandering about life when one day, he found himself at his friend’s shoe store in Kolkata. For 45 minutes, he watched a group of women try on “at least 100 pairs” and leave the store without buying any. “They either couldn’t find the right colour, shape or heel. They weren’t completely satisfied with any pair of shoes,” he recalls. If the seed of an idea was sown in his mind following this, a cousin’s wedding convinced him shoe design was to be his calling. “My cousin spent lakhs on her Sabyasachi lehenga but was wearing those cheap Rs 100 sandals because the colour matched her outfit,” he says, aghast.
A three-month “internship” followed at the tiny settlements that line CIT Road in Kolkata where karigars made shoes — by hand. “I bought them beedi and chai and pleaded with them to teach me how to make shoes. They probably thought I was crazy but they did give me valuable tips. I always thought these shoes, meant for mass production, were made by machine,” he says. Confident after having learnt the nitty-gritty of shoemaking, Arora found himself a karigar and set to work out of a small space. While he began by offering customised shoes, word spread about Arora’s designs. That was in 2008. Three collections and five years later, Arora retails out of several stores and can be bought online on Facebook and designemporia.in. His designs can often be seen on the catwalk as part of other designers’ collections. His aesthetics are sincerely Indian and intentionally funny with bright colours, Indian embroidery and dialogues from Bollywood blockbusters — one pair has lines from Devdas, another from Sholay — and he places more emphasis on being exclusive than expensive. “We don’t think too much about making a pair for Rs 1,000 or for Rs 10,000. Anybody and everybody is welcome to wear Rohan Arora shoes, as long as you think you can carry it off.”
Once you’ve seen a pair of Rohan Arora shoes, it’s quite likely you’ll never forget them. Quirky, colourful — sometimes even OTT — and unique, Arora’s shoes are perfect for a woman who is confident and isn’t afraid to stand out in a crowd. His bright and beautifully detailed jootis are perfect for Indian wear while his handpainted shoes with Gabbar Singh and Thakur from Sholay are definite conversation starters. His Blue Classy Oxford shoes are as distinct as comfortable. Understated isn’t a part of his design vocabulary as he dabbles in a variety of materials, like brocade, pure satin, sheep skin, silk and handwoven khadi.
The 27-year-old commerce graduate from St Xavier’s, Kolkata was wandering about life when one day, he found himself at his friend’s shoe store in Kolkata. For 45 minutes, he watched a group of women try on “at least 100 pairs” and leave the store without buying any. “They either couldn’t find the right colour, shape or heel. They weren’t completely satisfied with any pair of shoes,” he recalls. If the seed of an idea was sown in his mind following this, a cousin’s wedding convinced him shoe design was to be his calling. “My cousin spent lakhs on her Sabyasachi lehenga but was wearing those cheap Rs 100 sandals because the colour matched her outfit,” he says, aghast.
A three-month “internship” followed at the tiny settlements that line CIT Road in Kolkata where karigars made shoes — by hand. “I bought them beedi and chai and pleaded with them to teach me how to make shoes. They probably thought I was crazy but they did give me valuable tips. I always thought these shoes, meant for mass production, were made by machine,” he says. Confident after having learnt the nitty-gritty of shoemaking, Arora found himself a karigar and set to work out of a small space. While he began by offering customised shoes, word spread about Arora’s designs. That was in 2008. Three collections and five years later, Arora retails out of several stores and can be bought online on Facebook and designemporia.in. His designs can often be seen on the catwalk as part of other designers’ collections. His aesthetics are sincerely Indian and intentionally funny with bright colours, Indian embroidery and dialogues from Bollywood blockbusters — one pair has lines from Devdas, another from Sholay — and he places more emphasis on being exclusive than expensive. “We don’t think too much about making a pair for Rs 1,000 or for Rs 10,000. Anybody and everybody is welcome to wear Rohan Arora shoes, as long as you think you can carry it off.”
RUHI BATRA
NEENA
GUPTA RATH
An
ethical agenda with a strong creative vision, Neena Gupta Rath's label Ticket
TO Timbuktu is on an ambitious journey
Ballerina flats with dainty chikankari embroidery on net and leather; a second pair a shiny rainbow of woven colours and a third, a beautiful mix of cotton and jute, a statement to the splendor of indigenous textiles. To call Delhi-based Neena Gupta Rath’s footwear unique wouldn’t be a stretch, and the designer admits she at times is amazed how she dove headlong into realising her creative vision. The chikankari collection, for instance, took a year-and-a-half to get off the ground, partly because of the challenges posed by artisans. “They couldn’t understand how to use their technique on leather,” she recalls, adding that mirroring work on pairs was another complication, given multiple hands work on the same piece. “I had so many rejections with my first collection,” she says.
Despite the hurdles, Rath remains committed to the cause her label Ticket TO Timbuktu (TTT) espouses, that of creating a brand inherent to Indian culture, and whose purchase benefits not just the shopper but the artisan who creates it as well as a third entity, which at the moment is the Avalokitesvara Trust, setting up libraries across schools in Ladakh. For every shoe TTT sells, Rath donates a book to the trust.
Four years in the fashion industry, working with designers Lecoanet Hemant, the Parsons School of Design graduate found herself questioning the vanity of the fashion world and felt compelled to switch gears. “You see women spending money on clothes to look good, but when it comes to giving money for a cause, they think twice,” says the designer who was raised to believe in the importance of giving back.
TTT (symbolising a utopia for the ethically-conscious) kicked off in 2011 and while Rath never specialised in shoe design, it was her go-to accessory for the label. “If a woman gains 20 kilos, she doesn’t gain a thing on her feet, so it’s a feel-good product,” she says. “Also, I didn’t see any brand in India do shoes fusing Indian traditions with western silhouettes.”
At the outset, Rath was clear her venture wasn't just about the shoes, and her business plan outlines the different agendas around which she plans her collections. There’s a red line, focusing on artisanal revival, a green line representing restoration and a blue line, inspired by voices for change which hasn’t taken off yet. For the chikankari work of the red line, Rath partnered with Lucknow Mahila SEWA Trust and the jute-cotton she uses is woven by women from NGO Sabala in Karnataka. The colourful shoes, part of the green line, are in association with Khamir, a Gujarat-based NGO that weaves recycled plastic into fabric.
Her agenda is an integral part of her business plan, but Rath's aesthetic vision is equally strong. Her shoes are made of the softest sheep Nappa leather, and she is always on the lookout for how to adapt international trends. Chikankari, for instance, tied into last season’s trend of transparency and layering, while the polyester-synthetic trend came through the recycled plastic shoes. Up next, she’s experimenting with sandals, focusing on subtle mirror-work and macramé, as well as a mukaish line on felt for winter.
The shoes, priced from Rs 5,500 to 6,500 and available at 12 stores including Second Floor Studio, Ensemble and Le Mill, are targeting “a woman who is ecologically-conscious, stands for causes and promotes ethical products,” says Rath, revealing almost 80 per cent of her shoes are bought by expats. Rath herself prefers Indian shoes, favouring those from Auroville and Dilli Haat. Her goal is to take her work abroad, and one day create an artisans hub in India on the lines of what Ali Hewson has done with Edun in Africa. “I hope the brand goes that far,” she concludes.
Ballerina flats with dainty chikankari embroidery on net and leather; a second pair a shiny rainbow of woven colours and a third, a beautiful mix of cotton and jute, a statement to the splendor of indigenous textiles. To call Delhi-based Neena Gupta Rath’s footwear unique wouldn’t be a stretch, and the designer admits she at times is amazed how she dove headlong into realising her creative vision. The chikankari collection, for instance, took a year-and-a-half to get off the ground, partly because of the challenges posed by artisans. “They couldn’t understand how to use their technique on leather,” she recalls, adding that mirroring work on pairs was another complication, given multiple hands work on the same piece. “I had so many rejections with my first collection,” she says.
Despite the hurdles, Rath remains committed to the cause her label Ticket TO Timbuktu (TTT) espouses, that of creating a brand inherent to Indian culture, and whose purchase benefits not just the shopper but the artisan who creates it as well as a third entity, which at the moment is the Avalokitesvara Trust, setting up libraries across schools in Ladakh. For every shoe TTT sells, Rath donates a book to the trust.
Four years in the fashion industry, working with designers Lecoanet Hemant, the Parsons School of Design graduate found herself questioning the vanity of the fashion world and felt compelled to switch gears. “You see women spending money on clothes to look good, but when it comes to giving money for a cause, they think twice,” says the designer who was raised to believe in the importance of giving back.
TTT (symbolising a utopia for the ethically-conscious) kicked off in 2011 and while Rath never specialised in shoe design, it was her go-to accessory for the label. “If a woman gains 20 kilos, she doesn’t gain a thing on her feet, so it’s a feel-good product,” she says. “Also, I didn’t see any brand in India do shoes fusing Indian traditions with western silhouettes.”
At the outset, Rath was clear her venture wasn't just about the shoes, and her business plan outlines the different agendas around which she plans her collections. There’s a red line, focusing on artisanal revival, a green line representing restoration and a blue line, inspired by voices for change which hasn’t taken off yet. For the chikankari work of the red line, Rath partnered with Lucknow Mahila SEWA Trust and the jute-cotton she uses is woven by women from NGO Sabala in Karnataka. The colourful shoes, part of the green line, are in association with Khamir, a Gujarat-based NGO that weaves recycled plastic into fabric.
Her agenda is an integral part of her business plan, but Rath's aesthetic vision is equally strong. Her shoes are made of the softest sheep Nappa leather, and she is always on the lookout for how to adapt international trends. Chikankari, for instance, tied into last season’s trend of transparency and layering, while the polyester-synthetic trend came through the recycled plastic shoes. Up next, she’s experimenting with sandals, focusing on subtle mirror-work and macramé, as well as a mukaish line on felt for winter.
The shoes, priced from Rs 5,500 to 6,500 and available at 12 stores including Second Floor Studio, Ensemble and Le Mill, are targeting “a woman who is ecologically-conscious, stands for causes and promotes ethical products,” says Rath, revealing almost 80 per cent of her shoes are bought by expats. Rath herself prefers Indian shoes, favouring those from Auroville and Dilli Haat. Her goal is to take her work abroad, and one day create an artisans hub in India on the lines of what Ali Hewson has done with Edun in Africa. “I hope the brand goes that far,” she concludes.
SONAL NERURKAR
RINA SHAH
‘Selling shoes in India at Rs 10,000 was
unheard of in the 90s’
Among the first in India to get a foot in, Rina Shah's western glam-with-an-Indian-twist collections continue to impress celebrity clients
Fashion design may be acceptable and even encouraged as a career option by parents today, but there was a time when they were called darzis. Rina Shah decided to make a career in shoe design around the same time 14 years ago, when people around her reminded her that it was something like being a mochi.
However, even after having completed a degree in finance she decided to take the plunge anyway. Shah enrolled into the accessory design course at Fashion Institute of Technology, New York and after returning to India set up a factory and retail space in Mumbai. “In the beginning it was difficult. Selling shoes in India at Rs10,000 was unheard of. People didn’t mind spending that money on international brands, but not on Indian brands,” she says. She took the risk and eventually went on to carve a niche for herself as a bespoke shoe designer with a 1,500 sq-ft store in Colaba. “It was like a museum,” she says about the store.
Soon she was catering to celebrities, movie stylists and frantic brides. “I remember getting an order from a woman who was getting married in a week and insisted on shoes with 20,000 Swarovski crystals on it,” Shah says, laughing. Currently working on a pair of bespoke shoes for her friend’s wedding scheduled five days away, last minute requests are something she likes to take on as a challenge. “I was working with Manish Malhotra on a Karan Johar movie and I remember creating shoes for Kajol and Rani Mukerji overnight,” she says. Although footwear with an Indian touch — embroidery and Swarovski, of course — and wedding shoes are her specialty, she creates just as many styles in western wear too. She has made bespoke footwear for Raj Kundra, pumps for Asin and animal print wedges for Shilpa Shetty. Internationally Natalie Portman, Pamela Anderson and Naomi Campbell have all walked in her shoes. “Naomi bought 10 pairs from me a decade ago. Last year when she came back to India she tracked me down and asked me to make one of the same pairs for her again," says Shah.
Today there may be many more shoe designers in India but Shah says it is her attention to detail, and standard of quality and fit that help her stand apart. “Most of the designers don’t even have technical training. Getting the fit of a shoe correct is not easy,” she adds. This season she is using neon colours and designing a lot more wedges and some boots. But chappals and ballet flats are high in demand all year round. “My maximum sales are for flats. They are most comfortable for day wear,” she says.
Among the first in India to get a foot in, Rina Shah's western glam-with-an-Indian-twist collections continue to impress celebrity clients
Fashion design may be acceptable and even encouraged as a career option by parents today, but there was a time when they were called darzis. Rina Shah decided to make a career in shoe design around the same time 14 years ago, when people around her reminded her that it was something like being a mochi.
However, even after having completed a degree in finance she decided to take the plunge anyway. Shah enrolled into the accessory design course at Fashion Institute of Technology, New York and after returning to India set up a factory and retail space in Mumbai. “In the beginning it was difficult. Selling shoes in India at Rs10,000 was unheard of. People didn’t mind spending that money on international brands, but not on Indian brands,” she says. She took the risk and eventually went on to carve a niche for herself as a bespoke shoe designer with a 1,500 sq-ft store in Colaba. “It was like a museum,” she says about the store.
Soon she was catering to celebrities, movie stylists and frantic brides. “I remember getting an order from a woman who was getting married in a week and insisted on shoes with 20,000 Swarovski crystals on it,” Shah says, laughing. Currently working on a pair of bespoke shoes for her friend’s wedding scheduled five days away, last minute requests are something she likes to take on as a challenge. “I was working with Manish Malhotra on a Karan Johar movie and I remember creating shoes for Kajol and Rani Mukerji overnight,” she says. Although footwear with an Indian touch — embroidery and Swarovski, of course — and wedding shoes are her specialty, she creates just as many styles in western wear too. She has made bespoke footwear for Raj Kundra, pumps for Asin and animal print wedges for Shilpa Shetty. Internationally Natalie Portman, Pamela Anderson and Naomi Campbell have all walked in her shoes. “Naomi bought 10 pairs from me a decade ago. Last year when she came back to India she tracked me down and asked me to make one of the same pairs for her again," says Shah.
Today there may be many more shoe designers in India but Shah says it is her attention to detail, and standard of quality and fit that help her stand apart. “Most of the designers don’t even have technical training. Getting the fit of a shoe correct is not easy,” she adds. This season she is using neon colours and designing a lot more wedges and some boots. But chappals and ballet flats are high in demand all year round. “My maximum sales are for flats. They are most comfortable for day wear,” she says.
RACHANA
NAKRA
TCR130720
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