Ritu Kumar PROFILE In the late 1960’s India was going through profound changes; plastics had replacedmud, brass and silver; factory produced papers and woods took the place of sophisticated handicrafts and nylons displaced an ancient heritage of cotton and silk. It was not only a battle between tradition and modernity; it was also a confrontation of lifestyles and values. During this time, a small group who had benefited from unique opportunities of study and travel began to see the depth of the craft and design heritage of their own country. They discovered that India was a reservoir of delicate skills. In an attempt to merge their international experiences together with the skills of their people, they became aware that contemporary designers must revitalize their own roots and identity. This was essential to take Indian creativity out into the world in such a way that benefited both craftsmen and the modern consumer. This scattered group, including Ritu Kumar was to become the country’s leading designers of the buildings, garments, fabric and accessories. Ritu began with hand block printers and two tables in a small village near Calcutta, and in the last 28 years, Ritu’s team of dedicated workers have progressed to produce some of the country’s most exquisite garments and accessories in cotton, silk and leather. These ranges embrace both traditional textile crafts and the lineage of Indian design. Over the centuries, traditional skills that had been lost have been revitalized and this has enabled the craftsmen to continue working in their own environment. Ritu has pioneered the term ‘fashion’ in the Indian context, and more importantly, has demonstrated that hand made products can be as profitable and even more glamorous than those made by machine. Ritu Kumar’s forte is traditional Indian clothes, that draw heavily on the textile and embroidery heritage of India and remains classics of their kind. But she evolved another style for European buyer. Her Indo-West fusion wear has all the trappings of block prints, embroidery and craft inputs on a western style. Ritu has been designing the wardrobes comprising swim-wear, evening wear, traditional Indian wear, casual wear, formal evening gowns; of the winning three Miss India’s, for their participation in the International beauty pageants (Miss Universe, Miss World & Miss Asia pacific respectively). At least six of these, to mention a few; Manpreet Brar, Ruchi Malhotra, Rani Jeyraj and recently Lara Dutta, have won the award for the Most Outstanding Evening Gown in International pageants. Ritu has opened many outlets all over India. Style icons as late Princess Diana have patronized her outfits. Ritu Kumar also launched her book ‘ Costumes and Textiles of Royal India’ which is published by Christie’s, London. PERSONAL DATA: Born in Amritsar, November 11, 1944 Citizenship: INDIAN Married, Two children. Education: Post Graduate Diploma in Museology, 1967, Ashutosh Museum, Calcutta Associate in Arts, 1966, Briarcliff College, Westchester County, NY, USA Bachelor of Education. 1965, Lady Irwin College, New Delhi Bachelor of Science in Home Economics, 1964, Lady Irwin College, New Delhi Intermediate in Science, 1960, Government College, Amritsar in Maheshwar. Delhi Chapter Divyachhaya “Save a Child” Trust. Development of handloom weaving to suit ready to wear needs. Calcutta / Delhi Board of Governors: National Institute of Fashion Technology. Gauhar Khan . producing two collections a year for national retail outlets in: Traditional Zardozi Kashida Handblock prints Ethnic embroideries by machine and hand Kantha Associations Membership of Governing / Executive bodies: All India Handloom Board at the Ministry of Textiles. RITU – A history of company 2002 CHRONOLOGY OF PRESENTATIONS: Designed wardrobes for the participants of various pageants. Sacred Heart Convent. . Awards Lifetime Achievement Award set by NIFT Outstanding Woman Entrepreneur Award by PHDCC Lifetime achievement award at the Kingfisher Fashion Fantasia. Development of a specialized printing unit at Balabhgarh employing modern techniques of screen-printing. Neha Dhupia . July 2000 in Bangalore. Revival and change in end use of the printing techniques of Tanjore. Orissa and Tamil Nadu.Matriculation. Revival and change of end use of vegetable printing/painting and dyeing techniques in Andhra Pradesh. Amritsar Professional Experience: Designer of Textiles and Garments R & D in Design: Leather ready-mades and accessories using traditional techniques – The collection “Karabagh” launched in 1994. Continuing work on established lines. Andhra Pradesh.Miss International and Miss Earth added to the growing list of pageants. 1958. with two new contests-.participated in the Miss World contest held in London on the 30th November 2002.participated in the Miss International contest in Tokyo on the 04th October 2002. Tina Chatwal . Shruti Sharma . Research into traditional design motifs to translate them from traditional uses to leather and textiles. Delhi Crafts Council.participated in the Miss Asia Pacific contest held in Manila on the 30th November 2002 and she was the first runner up in the contest.participated in the Miss Universe Contest held in Puerto Rico on 29th May 2002. Revival of tie/dye in selected areas in Gujarat. Taj Mahal Hotel. Mumbai on 28th October 2001 at the Regal Room. opening the fashion sequence with a short film which preceded the showing of the new bridal line. Maheshwari . 21. on 10th November 2001. She won the Best National Costume Award wearing one of our lehnga choli. September 27th 2001 Bridal Asia . one each in Ahmedabad on September 3rd . which was held on the 20th October 2002.Reshmi Ghosh ." Soiree Royale". She won the Best national Costume Award wearing one of our lehnga choli.participated in the Miss International contest in Tokyo on the 04th October 2001. A sumptious royal cuisine was also painstakingly created by the chefs at the Oberoi hotel. August 2001 Lakme India Fashion Week. Mumbai and participated in the Bridal fair held in Bombay.participated in the Miss Asia Pacific Contest held in Manila.24th October 2002 Opened two new outlets in Ludhiana on 15th October at Dhir Towers. Govt.13th October 2001 and in Bangalore on 9th -11th November 2001. Ritu’s new showroom opened on the 01st November 2001 at Chandigarh.participated in the Miss World contest in Johannesburg.5th in Hyderabad on 11th . The other highlights of which were the presence of several erstwhile Maharajas and Princes from the royal families of Rajasthan. a presentation at Taj Mahal Hotel .participated in the Miss Earth contest in Manila.Exhibitions held in three cities. October 5th 2001 Vivah Show . 5 Vittal Mallya Road 2001 T. Shamita Singha .Delhi March 20th 2001 In house Bridal Showing . Delhi February 12th 2001 “Pret to Couture” . College Road Bangalore on 21st November at 1 Embassy Chambers. The evening was entitled.Archana. Kanwal Toor . Cross-Mall.Oberoi Hotel. Shop No.17th February 2002 Pune on 26th -28th February 2002 Hyderabad on 07th . Amritsar. The show was held in collaboration with the magazine "Marwar" to celebrate its 10th anniversary.Taj Mahal Hotel. Mumbai .09th October 2002 Ahmedabad on 23rd . Mumbai Opened the fashion sequence of the Vivah Show 2001 organized by Femina held on 05th October in Oberoi Hotel. Mumbai June 27th 2001 Alternatives to Shatoosh. on the 24th November 2001. One more retail space opened in Punjab. which was held on the 20th October. Delhi Participated in Bridal Asia 2001 in New Delhi. 39 HDFC Building. 28th October 2001 The "Ritu Kumar" Bridal and Period collection was shown at the The Oberoi Towers. Relocated our premises to a new address in Amritsar. Exhibitions held in four cities.National Gallery of Modern Art.participated in the Miss Earth contest in Manila. Sector 9D. one each in : Nagpur on 15th . The Mall. Chandigarh. Sara Conner . Lara Dutta. designed by Ms. 1999. Ritu Kumar first presented her “Prêt to Couture” for summer. 2000.at the India Trade show in Tel Aviv. Israel in May 2000 and was also hosted at “The Memphis in May festival. 2000. January 2000 The “Tree Of Life” was the highlight of the Grand Finale during the cultural evening Hosted by confederation of Indian Industry at the Annual Meeting of the World Economic Forum. . October 1999 Ritu’s “Tree of Life” show was especially invited by the Singapore Indian Fine Arts Society for their 50th year celebrations.By the 90s RITU began to focus input into design and colors. Experiment with mediums like leather. Summer and Winter lines were brought out. The salwar kameez lines were expanded and a major thrust was given to the Bridal collection. Ritu Kumar released the Costumes and Textiles of Royal India with launches in London and the four main metros in India. 2000” at Memphis.up award in an ornate four-piece ensemble. old style tight kurtas. In Davos. reminiscent of vegetable dyeing and patterning. which were adaptable to seasons. New Delhi September 2000 Hotel Taj Bengal.. Off whites. gold. silk and leather garments for winter. BOOK In 1999. resulting in collections like Karabagh in 1994. She also won the ‘Best National Costume’ first Runner . CHRONOLOGY OF PRESENTATIONS: August 23rd 2000 Lakme India Fashion Week. were carried on. the show was taken to ‘The Grand hall’. a traditionally cut-paneled ‘lehenga’. Tennesse USA. Switzerland held on 28th January. Mumbai May 2000 The celebrated audio-visual tableau by Ritu Kumar. Kumar. prints and embroideries but with the usage of a wide range of western silhouettes mingled with Indian styles. Kolkata November 2000 In House Bridal Showing. The guest of honour. “Prêt to Couture” is a collection of casual and formal wear that is both young and elegant. The show first opened at the Lakme India Fashion Week in New Delhi and was later shown in Kolkata.Femina Miss India/Universe won the Miss Universe title at the pageant held In Nicosia. Traditional skills were adapted into contemporary wear with the East West collection of1996. 1999 Collections . colors. churidars salwars and Indian melodies from the 60s and 70s providing plenty of nostalgia…. The inspirations for these garments come from basic Indian motifs. Hong Kong Convention Center at Hong Kong by the India Trade Promotion Organization.. “Tree of life” presented as part Of the cultural extravaganza. as “A Retrospective —Prêt to Couture” The show is like a journey into the past. along with a collection of woolens. at these celebrations was the President of Singapore. In August 2000.A collection of ancient costumes from Ritu Kumar’s archives as well as her latest Bridal Collection and presented at the National Gallery of Modern Art in Mumbai. February 2000 On 26th February 2000. Overall there were changes in cuts. which till then was limited in colors and patterns. and prints of all garments. Cyprus on 13th May 2000. on 28th October. turquoise and mehndi greens were introduced to a bride apart from the traditional colors around red. 1997 “Tree of life” was presented once again at the Wembly Conference Center on the May 24th. and the encouragement of young talent at NIFT. are unmatched in their beauty and refinement. Srikalahasti and Srikenaikempat. With an art gallery A. Spanning several centuries the designs include woven. The evolution of the tastes and preferences of India’s royalty has been traced through the traditional court clothing that has been researched and documented by the author over two decades. Kashida. Ritu was appointed on the Board of Governors of the National Institute of Fashion Design. 25th. now a classic in the Indian design Industry was chosen to represent India at the world Fashion Forum at the NIFT. embroidered. painted and twisted techniques. 1995 Mid-September Ritu was invited to provide costumes for the contestants of Miss UK 1995. End-September Ritu donated and mounted an exhibition of the prints and vegetable dyes of Macchlipatnam. From the workshops of RITU come garments. both religious and regional. Also included were her more recent researches into the hinterlands of the country together with the creations of other Indian designers. papers and reeds. as a part of the celebration of the 50 years of India’s Independence. Beginning with India’s ancient and medieval history. and on into the twentieth century that saw the demise of Princely India and the establishment of a democratic nation. Ritu London counts amongst its customers. in its basement. these are fashions that both permeate the culture and reflect it. 1996 May 1996 saw the crystallization of the dream to take Indian creativity and craftsmanship out into the world in the form of Ritu London at North Audley Street. . through the Mughal period and ninety years of British rule.S. this year. leathers. furnishings. in a section entitled “Tribute to India”. Performed as the finale to the show. Ritu-London presented a range of India’s highest quality craft skills linking garments. Published by Christie’s Books Ltd. the ‘Tree of Life’ was acknowledged as a fitting tribute to the richness of Indian textile heritage. villages situated in the Coromandal Coast (now Cholamangalam) which were the manufacturing centers for the world’s most sought after prints and designs of the 17th and 18th century’s. Old prints were sourced at the Victoria and Albert museum and produced in Calcutta with the hand block printing techniques originally used in Macchlipatnam three-century’s ago. handbags and furnishings from the Zardozi. which featured designs from all over. September In recognition to the contribution to the fashion Industry. printed.R. accessories. in London. Tree of life and Karabagh Collections. Chairman INTACH (Indian National Trust for Art and Cultural Heritage.An in-depth account of the royal costumes and textiles of India the book considers all the various stylistic traditions. UK Trust) 1998 Won Lifetime Achievement Award set by NIFT Outstanding Woman Entrepreneur Award by PHDCC. the world. arising from within this vast country. November Ritu’s “Tree of Life” show.K. the book has been edited by Cathy Muscat and includes a foreword by Martand Singh. which come from all four corners of the subcontinent. The exquisite costumes and textiles featured in this sumptuous book. Jemima Khan and the late Princes Diana. 1992. Ritu clothed the Miss Universe and Miss World winners – Sushmita Sen and Aishwarya Rai. it showcased traditional and modern garments linking Indian heritage with contemporary fashion. Gujrat State Handicraft Development Corporation. Zardozi Exhibition . the white of the Chikan and the Kantha work of Bengal were blended with hand block prints to create garments of refinement and texture reflecting the very essence of Indian aesthetics. Ritu presented KARABAGH. the tableau was presented once again at the crafts Museum in Pragati Maidan. a traveling exhibition starting at the Cartright Hall. The experiment combined both traditional and modern techniques with materials accessible to the contemporary designer. The tableau was presented in Calcutta to raise funds for Divya Chalavja Trust. Bradford. the mirror work of Kutch. . 1988 In 1988.Established ‘Ritu’ a shop within a shop at the Galleries La Fayette. Promotion of India. Kashmir. In 1994. Paris. Exhibitions/Promotions March/April 1990 . Exhibitions/Promotions in 1992 November – A collection odhnis for India through the Veil: An exhibition of odhnis at Commonwealth Institute. 1985 The ZARDOZI COLLECTION of traditional wedding and evening wear was exhibited at the Lalit Kala Academy in New Delhi. India.K. Philadelphia Museum. the Jahangir art gallery in Mumbai. the Birla Academy of art and culture in Calcutta and at the festival of India in the USA. Ritu’s boutique was by this time renamed simply – RITU.Festival of India in USA. Experimenting with a diversity of fabrics. Co-optex and Sewa Lucknow. The Delhi crafts council. and at the Asiatic Society in Mumbai. 1989 – 1991 As a celebration of 21 years of RITU. Pakistan and Bangladesh. The geometric phulkari’s of Punjab. 1992 On February 10th. Sanganer and Farukkhabad. who were able to display the riches of India’s regenerated and evolved textile crafts to the world of television viewers. a collection of traditional and modern handbags and coats in leather along with a selection of cushions and quilts in silk. The Handloom and Handicrafts Museum and RITU. In association with the Government of India Handicrafts and Handlooms Export Corporation. November 1989 – Participated in the Hongkong Asia Trust presentation on Traditions and Adaptations in Textiles and Fashion from Hong Kong. The Tree of Life was presented by the Madras Craft foundation to raise funds for ‘Dakshinachitra. This time by four organizations working together: The National Institute of Fashion Technology (NIFT). a craft center and working museum demonstrating the traditional skills of the south. U.1994 In January 1994. 1993 In March 93. New Delhi. It was presented by invitation at the craft museum. Ritu mixed embroidery and handblock printing to create the KASHIDA COLLECTION. THE TREE OF LIFE audio visual fashion tableau was mounted. Orissa Co-operative Handicrafts Corporation. Ritu worked on a uniform theme based on images from Cholamandal coast. the stylized plant and floral motifs of the Kashmir. London. One of Ritu’s craftsmen earned the President’s Award for excellence in craft. June A collection of contemporary saris for 101 Saris. In contemporising these skills. Delicate muslins from Dacca. settlements based outside Calcutta and provided them with a workspace in their own environment. This in-depth account of the royal costumes and textiles of India considers all the various stylistic traditions. were revived to produce marriage garments and evening wear of great beauty. Liberty.The evolution of the tastes and preferences of India’s royalty has been traced through the traditional court clothing that has been researched and documented by the author over two . New Delhi. Sanoba Moden in Germany. the ruling dynasties of India promoted the skills of spinners.Exhibition-cum-sale of hand printed saris. Ritu evolved a unique blend of pattern. This was the first ever boutique in Delhi..1975 This is the time when the company Kalamkari Designs Pvt. fine silk brocades from Varanasi. traditional and modern motifs. intricate gold embroideries from Lahore—all were transformed into costumes fit for kings and courtiers. The export of garments continues till the present day and the company has expanded its collections substantially and is now based in New Delhi. was started jointly with her husband. that had once flourished in the great workshops of the Mughal emperors. brighter plans for the future…. through the Mughal period and ninety years of British rule. arising from within this vast country. The role has not changed since then. Roshafi in Amsterdam and Trade Action in Australia. 1974 Monday 18th March 1974: RITU'S BOUTIQUE opens in Bombay at Akash Ganga. Ritu discovered the embroiders of Ranihati. 1968 Opening of Ritu’s boutique in Calcutta at 46 a-b Wellesley Street Calcutta. were mixed and matched. Calcutta. Success changed all that and she became thoroughly and totally involved with her work. has uncovered a wealth of costumes. A mere giggle. There were 40 outfits shown in total. 1966 Ritu’s first Boutique opened in Delhi at D3 Defence Colony Link Road. fabric and gold embroidery. January 25th 1970 . Little daisy like flowers. Paisley. A craft oriented export house was soon selling silk dresses under the label "Ritu Kumar for Monsoon" London. dyers. 1970 Monday 9th of March 1970 . It was a time for experimentation and exploration. London for brief periods.Ritu’s Boutique celebrated two years of its existence on with a fashion show which was called "The Fashion Mood of the Seventies" It was a very early attempt at bringing some professionalism onto the ramp. and on into the twentieth century that saw the demise of Princely India and the establishment of a democratic nation. She was quite elated at the marvelous response Calcutta gave RITU'S BOUTIQUE and naturally had bigger. printers and embroiderers." New York. squares and circles. Broad borders and huge pallavs revived the art of resist printing. Her book is a celebration of thousands of years of craft tradition and a testimony to the survival of the world’s richest textile repertoire. and Ritu began to be well known for her print designs. 89 Bhulabhai Desai Road (Warden Road) Bombay-26 1973 In the early 70’s. 1972 Saturday April 8th 1972: Fashion Parade by RITU'S BOUTIQUE at the Tollygunge Club. complex woollen weaves from Kashmir. Franchises were also started with Harrods London. Gradually the crafts of Zardozi. Beginning with India’s ancient and medieval history. commissioning textiles from renowned centers of excellence across the subcontinent. weavers. these are fashions that both permeate the culture and reflect it. acclaimed designer Ritu Kumar.700016. After years spent searching for the last surviving examples of traditional court clothing. Ritu first regarded the boutique phenomena a fun thing. The production of India’s finest textiles has long been woven around its complex history and age-old traditions. both religious and regional. Ltd. "Ritu Kumar for Judith Ann. The Book For centuries. But then this is a very competitive field and unless you put in that extra effort you will tag far behind. Blocks are small surfaces of wood carved in reverse. 1994 Karabagh On the southwestern shores of India. Zardozi is now an extensively used and widely appreciated technique around the country. Ritu Kumar began research and work on reviving the forgotten art of Zardozi. one of India’s foremost designers. 1988 Kashida Using needle and thread to decorate textiles is an ancient craft. London Book produced by: Art Books International. Using material from both the public collections and personal collections of India’s royal families. Ritu Kumar launched her Zardozi collection in New Delhi. are unmatched in their beauty and refinement. DETAILS: Published in 1999 by : Christie’s Books Ltd. Italy Written by : Ritu Kumar Edited by : Cathy Muscat With a Foreword by: Martand Singh. another distinct design directory evolved. These are dipped into dyes and the design is transferred on to cloth. innovation and creation. or what became ..decades. soon resulted in a broad understanding and revived patronage of this craft. a cluster of thatched huts under giant palms a few miles outside Kolkata.” — Ritu Kumar First City. To her credit. In 1985. trees. With innovations in use of material and the technique of Zardozi itself she was able to attain applicability much wider than its traditional use in court and bridal costumes. Kashmir’s stylized plant and floral motifs. In India embroidery patterns have evolved in different regions of the country—the geometric phulkari’s of the Punjab. Aug-99 Zardozi In the small village of Ranihati. vines developed in hinterland villages over hundreds of years. Block printing is another highly developed tradition of ornamenting textiles. tone on tone Chikan of Lucknow. The Collection was first displayed in 1988 and has since been used significantly in RITU’s garments sold at her retail outlets around India. which come from all four corners of the subcontinent. around myriad permutations on the Ambi. and the Kanthas of Bengal form part of the vast repertoire of India’s embroidery traditions. I also try and visualize whether a woman would look elegant in my designs. leaves. The prints of these region are synonymous with an exuberant design vocabulary of stylized flowers. hidden in the mountains and valleys of Kashmir. stretching from Macchalipatnam to Negapatnam lies the Cholamandal Coast. The exquisite costumes and textiles featured in this sumptuous book. This was the first ever display of Zardozi in a contemporary era. Ritu Kumar. after years of research. insight into these hidden treasures can at last be gained. A modest beginning but with tremendous hard work. London Designed by : Lisa Tai Printed and bound by: Grafiche Milani. UK Trust) COLLECTIONS “I believe in going deep into the roots of every design to find out its relevance in the present context. It’s a lot of hard work. mirror works motifs of the Kutch. Far to the north. Chairman INTACH (Indian National Trust for Art and Cultural Heritage. birds. has sought to present the most exceptional examples. Ritu Kumar developed ‘Kashida’ as the art of colored thread embroidery on hand block printed fabric. the Sangmarmar Collection is based on the pristine white of the immortal Taj Mahal and designed with motifs that echo the carvings and inlay work. hangings and cushions printed. “Prêt to Couture” is a collection of casual and formal wear that is both young and elegant. which is the starting point of this collection. bags and accessories are embossed. With the Karabagh Collection. embroidered and quilted on the finest Murshidabad silk. short sleeves and criss-cross backs – young and yet with a touch of nostalgia. 1998 Dhoop Chhaon Hues of damask rose. Ritu Kumar first presented her “Prêt to Couture” collection along with a collection of woolens. The inspirations for these garments are basic Indian motifs. The experiment transcends tradition in its attempt to combine techniques and materials accessible to the designer. Mostly comprising outfits in soft white tery-rubia. the romantic flame of the forest trees. Delicate Zardozi and Aari work embellish the ensembles and the off white fabrics are interwoven with pure gold thread. Flowy and feminine. The colors are tropical and hot and liven up summer evenings 1999 Bridal Ritu Kumar rejects the long-held premise that the Indian bride has primarily to be dressed in shades of red. The soft furnishing include spreads. the designs offer scoop necklines. prints and embroideries but with the usage of a wide range of western silhouettes mingled with Indian styles. Cool and comfortable. 1998 Gulmohar As summer sets in. enhancing and adding an element of embellishment hitherto unexplored. khaki. popularized in the painted and printed tradition of Kalamkari. saffron. printed or painted. Villages in the desert reaches of Rajasthan and dusty plains of Gujarat gave us the Buti in its many forms while the Farukhabad School. The surrounding trees of the Jacaranda are like an artist’s brush strokes of mauve and purple which along with the brilliant yellows of the Amaltash flowering trees produce a kaleidoscope which vies with the glare of the hot mid day sun. embroidered in harmony with the basic ethos of the Cholamandal design range. Thus leather coats. In recognition to the contribution to the fashion industry. flame of the forest and the deep golden yellow of the marigold are splashed in all their richness in floral prints on salwar kameez ensembles. the ‘Sangmarmar’ collection epitomizes the purity of marble. 2000 Prêt to Couture In August 2000. from the Indian heartland. colors and prints. flowering hibiscus. and the encouragement of young talent . perhaps for the first time. seductive and warm in its textures. turquoise and even off-white colors. 1996 Sangmarmar Launched at the end of March – just as spring turned to summer. which is synonymous with the Indian identity of design. with ‘tone-on-tone’ white embroidery or delicate pastel contrasts. Ritu Kumar’s Gulmohar collection reflects this joyous mood in its play of vibrant prints on cool chiffons. Ritu Kumar pays tribute to the eternal vines of the Cholamandal coast and the paisley or Ambi. AWARDS: 1998: 'Lifetime Achievement Award' set by National Institute of Fashion Technology.known as the paisley to the rest of the world. are vibrant with their red. silk and leather garments. a completely different vocabulary with its vibrant use of the square space and evolved spring-like textured jalis with vibrant surface distribution which were popular later as the “Cheent” or chinz prints of India. exuberant and wild under the hot April sun. hot colored flowers. For her Bridal ‘99 collection she selected mehendi green. produced in its ateliers. transforming the feel of the unending vines of Cholamandal and bringing in a fresh energy to the eternal paisley. Aishwarya Rai and Yukta Mookhy After conquering India a number of times she has annexed the world four times and the universe twice. . India's top fashion designer. December 1998: 'Outstanding Women Entrepreneur Award'set by the PHD-Chamber of Commerce. The high priestess of Indian haute couture has dressed up 17 young ladies of whom 13 have won the Miss India pageant and seven have gone on to win the Miss World. Priyanka Chopra (Miss World). Miss Universe. and Diya Mirza (miss Asia-Pacific). by Surabhi Khosla The traditional look L-R: Diya Mirza (Femina). and Miss Asia-Pacific titles. Awards were given to deserving members of the fashion fraternity and this is where Ritu Kumar once again won the 'Lifetime achievement award' Ritu Kumar . has over the past six years. a fashion extravaganza in Bangalore. 15th July 2000: 'Lifetime achievement award' set by Kingfisher Group The Kingfisher group hosted Fashion Fantasia. Ritu was appointed on the Board of Governors of NIFT and was felicitated with the 'Lifetime Achievement award.Designing for 'Queens' Ritu Kumar "India today is perhaps the last surviving country where the rich textile legacy is not showcased in a museum but in the hands of its surviving 16 million artisans" The winners of all three International Beauty titles of 2000 were attired by designer Ritu Kumar. Miss Universe. Lara Dutta (Indiatimes. The latest in her line of victories are Lara Dutta (Miss Universe).at NIFT.com). and Miss Asia-Pacific titles. dressed 17 Miss India participants of whom 13 have won the crown and seven have gone on to win the Miss World. Ritu Kumar. " When Aishwarya was in London. while others look great in a swimsuit. which were suitable for what they had become. A further three managed to gain significant scores in their national costume rounds. others in a sarong.from block prints. “It is clearly the distinctive clothing of India and our craft traditions which I use on all their wardrobes which have attracted attention and made the contestants stand out. She was one of the judges at the Miss India contest held in 1994 when Aishwarya Rai and Sushmita Sen both tied for the first place. How does she feel about being the designer behind the scenes who has played a vital role in the beauty queens winning international pageants? The feeling is euphoric. she was officially appointed to do the wardrobes of all the three contestants who participate in international contests." "India today is perhaps the last surviving country where the rich textile legacy is not showcased in a museum but in the hands of its surviving 16 million artisans." "Ritu Kumar’s success story in fashion revolves around the revival of Indian crafts .Ritu Kumar has been designing wardrobes for the finalists of the Miss India beauty contest since 1994. "It is the lifework of these remarkable master artisans that Ritu Kumar celebrates through her unique designs. Apart from the last three. kasauti. Three others made it to the runners up grade while three more contestants have won the Best Gown Awards. And then it takes a few weeks to get the contestants comfortable with the attire. she was wearing hand printed saris at the rehearsals and Durga patch leather coats while shopping. Because of the costumes I have begun to get more and more international recognition. By now it has been honed into a fine art. Secondly there is that added pressure that your clothes are going to be up against international competition." The idea is to present a sartorial personality who is at home in any type of garment. " Designing of costumes is more complex than it seems and can be equated to art . ten contestants came home with some award or the other." She must give the feel of someone who has an elegant wardrobe.the Miss World. Sushmita too posed in front of the Pyramids in Egypt wearing a Jaamdaani kurta pyjamas and met the President of India in a Bandhej suit. both for the contestants or the designer responsible for the image. bandhani and kalamkari." After the grand finale of 1994 when both Aishwarya and Sushmita were crowned Miss World and Miss Universe. training and many sessions before the wardrobe is ready. When they won the Miss World and Miss Universe titles respectively she couriered wardrobes to Sushmita in New York and Aishwarya in London. some in a heavy zardozi lehnga. Suddenly everyone realized how well Indian clothes were working for the contestants." says Kumar. one which is presented to the world with as much individuality and cultural context as possible. " I have since clothed 17 contestants with very well researched and extensive wardrobes." The most difficult part about the whole process is the uniqueness of each contestant’s mind and personality. The girls come to me a few months before the pageant and require fittings. ambassadors from India. I have to take into account the personality of the individual for whom the dress is being designed. chikankari to zardozi. says Ritu." ." Ritu Kumar’s association with the Miss India contest came about by chance. Once that is done. they step out supremely confident of who they are and are ready to take on the world. Miss Asia-Pacific and the Miss Universe contests. The impressive record. Says Ritu Kumar. as the same style cannot be used on different contestants. There is no formula here. is by no means an easy one to achieve. translating ancient traditions into a contemporary vocabulary. The outcome of her effort has been very rewarding as seven contestants have emerged winners at the international level--. she says. Some look stunning in a sari. It can take almost four months to get a wardrobe ready for an international beauty contestant. . An eye catching and elegant costume is a must to make the first impression." The contest runs for a month so the wardrobe has to be consistent." says Ritu. These clothes have to create a balance between attracting attention and yet looking suave and elegant at the same time. " Interestingly she says the hardest part is the everyday clothes which contestants have to wear on several occasions before the actual contest." Ritu's creations have also been worn by celebrities like Jemima Khan and the late Princess Diana. the motifs and the colours of the ensemble glow. remniscent of vegetable dyeing and patterning. Ritu Kumar's forte is traditional Indian clothes . panelled 'Lehenga in 'gheru' colour. Colourful Jaipuri motifs scale up the 'kalis'. conducted in front of the fire. The wedding ensembles. richly ornamented by traditional embroidery. Over the centuries. comprising of a traditionally cut. ~ GALLERY ~ The costume that won Lara Dutta the 'Best National Costume' first runner up award at the Miss Universe pageant. The dramatic 'gota' and 'kasab' hand-worked wide diagonal border is in burgundy. including lehengas. Shaadionline is proud to present Ritu Kumar 's exclusive bridal which are all about celebrations and joy on the most special occasion in a woman's life . has demonstrated that hand-made products can be as profitable and even more lamorous than those made by machine. The rich red colour is symbolic of festivity/fertility.Ritu Kumar began with hand block printers and two tables in a small village near Calcutta. Ritu has transformed the term 'fashion' in the Indian context. Miss Asia Pacific. This lehenga-choli ensemble is representative of the traditional Rajasthan/Gujarat style of embroidery. 2000.her wedding day. During the actual wedding ceremony. salwar sets and sarees are interwoven with gold. This has enabled craftsmen to continue working in their own environment. Ritu's team of dedicated designers have progressed to produce some of India's most exquisite garments and accessories. The 3-piece ensemble . Metallic yarn is traditionally used on these garments. and in the last 28 years. giving the garment its flattering look. and more importantly. traditional skills that had been lost have been revitalized.that draw heavily on the rich Indian heritage of textile and embroidery and remain classics of their kind.bridal attire in particular . It is a 4-piece ensemble. 2000. and had this yearning to learn about the history of Indian Art and its aesthetical foundations. There I enrolled to study a subject called "Museology". later I realized that this was largely due to the insecurity that the affluent west generates. Nothing could have been more remote from today's world of couture or fashion. in and around the city of Calcutta. The experience. My husband lived in Calcutta. was to influence the rest of my working life as the course was stimulating and gave me a strong grounding in the study of aesthetics. As a student I had realized that I was largely ignorant about Indian culture. a subject that was rarely taught in the country. Shortly I was to get married and return to India. I was lucky to find that a similar course was offered by the Ashutosh Museum in Calcutta. The work was very interesting and involved taking field visits to remote hamlets. I was exposed not only to the classical arts but became aware of the craftsmen who . and this is when I began my relationship with the Bengal I love so dearly today. The result was that I became interested in all things Indian.1966 "I had graduated from Lady Irwin College in New Delhi and was fortunate to get a scholarship to study History of Western Art in the USA. and read all I could find in the library about my country. in a musty crumbling building on College Street. During my college days I remember being passionately nationalistic. Few actually believed that anything ready made would actually sell. There were master tailors and cutters. There were gown makers. gave to the textile craftsmen made it a rich reservoire for various hand made products. or the culture of buying from a shop.worked in various mediums of folk art in Bengal. was planning to start a florist shop. craft items. The British presence in Calcutta and the patronage the then. seemed comparatively primitive in these crafts. and flowers… And that is how it all began! . capital of India. Providentially an aunt of mine who lived in Delhi. milliners embroiderers. I had always been interested in textiles and fabrics and was fascinated with what I saw around me. as the neighborhood tailor was so accessible. It was not long before I began experimenting with fabrics and ready mades. Very soon I had built up a stock of textiles and did not have a clue as to how to market these designs. who made dinner jackets and suits for men. We decided to venture forth to locate a shop where we could sell some ready mades. The northern part of India where I had spent my childhood. weavers and printers. I would attend college in the morning and begin exploring the lanes and villages around Calcutta in my free time. Unlike today there were no garage shops.