Harper's Bazaar June 2018 - Page 52

Bazaar

Bazaar

STYLE

Fall 2018
Fall 2018
Fall 2018
of clothing , the balance of a garment . With Halston , Khan also immersed himself in the cultural fabric of the city . The
New York of Elizabeth Taylor and Betty Ford and Liza
Minnelli and Truman Capote and Andy Warhol , who taught him
to draw .“ Designing is important , but passion is about how you live , how you interact with society . To know the
woman you ’ re designing for , you have to be a part of that society ,” he says .“ When I would come back to India , my parents — they ’ re simple folks — would scold me for things . My two lives were so weird , and I kept them separate . There was Studio 54 and then the
Indian household . When I would get on a plane , it was
almost like taking off a skin .”
Not so anymore . It ’ s not a matter of reconciling different identities — he ’ s been away longer than he lived in India — but about embracing how well they inform his designs . Cultures co-exist in his clothes , just as in his life . His Fall 2018 range , which he showcased at New York Fashion Week , celebrated the idea of a global woman , awash with influences from Spanish ruffles to Peruvian handiwork and , of course , Indian embroidery . A powerful display of diversity by an Indian immigrant in post- Trump America .“ Last collection was all about empowerment . That was more of a political move than an art move , where you ’ re saying you want the world to be a big beautiful place . We ’ re becoming aware that we all need to be more united .”
In the 36 years he ’ s been in the industry , he ’ s lost the Afro from when he first started out , but kept the
Fall 2012
“ My Indianness comes from the chaos , the colour , the embroidery , when there is no inhibition of mixing
colours . What
I know in fashion is from India .”
he ’ s
restlessness , the need to do more . Which brings us to his most
ambitious project till date — a fashion school in Miami , adjacent to his
new headquarters , expected to open in 2021 .“ The thought was , how could I teach the techniques that I ’ ve learned and
mastered , with my relationship with India and the rest of the
world ? Fashion is not just art , it ’ s economics and business . If you can t combine the two , you can be the greatest artist in the world but you ’ ll die hungry . I want to have a school so students can see
learn how the industry runs .”
Recently , he also launched a new , more affordable label , NK32
Naeem Khan at Neiman Marcus stores across the United States . And though he doesn ’ t plan to retail in India anytime soon — the
chaos that sparks his creativity stifles business — he looks to his
motherland for validation .“ It used to bug me , dressing the First Lady and not getting any acknowledgement from the government ; not a
thank you , but that they were proud of my work ,” he says .“ I still seek approval from India , it ’ s my people .” n
VICTOR VIRGILE / GAMMA-RAPHO VIA GETTY IMAGES ; FILIPPO FIOR / IMAXTREE
52
STYLE of clothing, the balance of a garment. With Halston, Khan also immersed himself in the cultural fabric of the city. The New York of Elizabeth Taylor and Betty Ford and Liza Minnelli and Truman Capote and Andy Warhol, who taught him to draw. “Designing is important, but passion is about how you live, how you interact with society. To know the woman you’re designing for, you have to be a part of that society,” he says. “When I would come back to India, my parents—they’re simple folks—would scold me for things. My two lives were so weird, and I kept them separate. There was Studio 54 and then the Indian household. When I would get on a plane, it was almost like taking off a skin.” Not so anymore. It’s not a matter of reconciling different identities—he’s been away longer than he lived in India—but “My Indianness about embracing how well they inform his designs. Cultures co-exist in his comes from the clothes, just as in his life. His Fall 2018 range, which he showcased at New York chaos, the colour, Fashion Week, celebrated the idea of a the embroidery, global woman, awash with influences from Spanish ruffles to Peruvian when there is no handiwork and, of course, Indian A powerful display of inhibition of mixing embroidery. diversity by an Indian immigrant in post- Trump America. “Last collection was all colours. What about empowerment. That was more of a I know in fashion is political move than an art move, where you’re saying you want the world F&Rg&F( Ц&r&VWFgV6Rv^( &R&V6֖rv&PFBvRVVBF&R&RVFVB( ФFR3bV'2^( 2&VVFRGW7G'^( 27BFRg&g&vVRf'7B7F'FVBWB'WBWBFP&W7FW76W72FRVVBFF&Rv6'&w2W2F27@&FW2&V7BFFF^( Ff666֖֒F6VBF𦆗2WrVGV'FW'2WV7FVBFV##( FRFVv@v2r6VBFV6FRFV6VW2FB( fRV&VB@7FW&VBvFג&VF6vFFBFR&W7BbFPv&Cf62BW7B'BN( 2V6֖72B'W6W72bP6( B6&RFRGvR6&RFRw&VFW7B'F7BFRv&@'WB^( FRVw'vBFfR6667GVFVG266VPV&rFRGW7G''V2( Х&V6VFǒR6V6VBWr&Rff&F&R&V3 VVBV&7W27F&W27&72FRVFVB7FFW2BFVvRFW6( BF&WFFFR6( GFP62FB7&227&VFfG7FfW2'W6W7>( FR2F0FW&Bf"fƖFF( ėBW6VBF'VrRG&W76rFRf'7BGBBvWGFr6vVFvVVBg&FRvfW&VCBFR'WBFBFWvW&R&VBbגv&( R62( Ē7F6VV&fg&FN( 2גVR( S &