VOICE OF FASHION FEATURE -“Rakhwaali” by Ayush Kejriwal: The Paradox of Fashionable Sheroes

– Sanhati Banerjee, TVOF

The clothier’s Instagram campaign dresses up present day-day, multitasking girls in a debatable interpretation of domestic goddesses

On May 27, fashion designer Ayush Kejriwal launched the “Rakhwaali” marketing campaign on Instagram in collaboration with production and communication enterprise Studio Gaaba. Due to regulations induced by the coronavirus lockdown, the shoot was carried out actually the use of FaceTime, the press release pronounces.

A Glasgow-based totally clothier, Kejriwal has built his brand totally on Instagram and virtual gear. He works with Indian weavers to create an array of handloom saris, from Banarasi and Katan to Patola and Kalamkari. With a growing following, he has step by step accelerated into stitched clothes and jewellery as well. He ships worldwide, taking orders on email and WhatsApp. Kejriwal is known for his distinct Instagram presence, wherein layout memories are combined with social messaging for his 191k fans.

The time period rakhwaali in Hindi way “caretaker” or “defend”. “At times like this, whilst most of the communications revolve across the narrative of no longer having to burden women similarly, seldom do they talk about guys or other family participants sharing this labour,” states a concept word from Studio Gaaba. “However, we are beginning to build up our awareness surrounding this challenge, due to being restricted at domestic as we're conscious now of the amount of hard paintings that goes into every day family paintings. While looking after the family chores, paintings life is thrown into the mixture as properly, attending Zoom and Skype organization calls whilst prepping meals and sweeping flooring.”

A Fashion Campaign with a Message

In the sluggish and seductive construct-up of the black-and-white campaign video, the camera pans the domestic space of the model—incidentally the fashion designer’s sister, Ayushi Kejriwal. The rakhwaali is visible in the kitchen, reducing fruits on the floor as she appears up, or sitting pensively with chin resting on gathered knees. A montage of close-u.S.A.Of the model’s henna-dyed fingers decked up in a number of chunky silver jewelry from large earrings or a stack of bangles and bracelets to heavy-set chokers, silk saris, bindi, kajal, long hair lead as much as a shot in which she holds a tray of glasses and teapot.

These stylistic markers place the protagonist at the heart of a conventional Indian household. But that’s not all—this is the narrative of a present day-day shero who juggles home responsibilities with Zoom webinars and Skype calls; the equal bejewelled hands that maintain the tray transition on to the computer keyboard.

The pre-existing range that gives hand-painted Kanjeevaram, Kalamkari, Patola and Chanderi silk saris isn't always new in Kejriwal’s fare; however, those featured within the campaign have been showcased for the primary time. A style campaign aimed to create focus approximately the amplified struggles of girls for the duration of this period, it functions a distinctly wearable variety of silver jewellery and creative weaves. However, it receives warped in mixed messaging around women’s rights and realities. .

Revered with the aid of the Male Gaze

The eye of the stylist or that of the visible lens turns into the male gaze. But to recognize it higher one have to take note of the voiceover narration—with the aid of Kejriwal himself—that hails the rakhwaali as the unsung hero of our instances. In this narration she is the “pyari gharwaali” or “liked homemaker”; the custodian of “our” domestic, own family, maan or honour and abhimaan or pleasure. In effect, it ends up situating the woman within a patriarchal framework.

The marketing campaign places the rakhwaali amongst “mothers, sisters, wives, companions, girlfriends, aunties, grandmothers, residence maids or each person else who is selfless and dedicated to carry joy and happiness round them in these hard instances” or who paintings “tirelessly” or with “relentless devotion”.

The Debate

Yet, such phrases complicate and blend up the discussion of gendered roles in home spaces, as home work remains unpaid and undervalued. Viewing home labour through the lens of romance and glamour confines it in the sexist trope.

In another video, the model says “sahi toh kaha Ayush ne” (Ayush is so proper) about extending a helping hand to the girl of the house; if she is cooking, why can’t guys clean up the dishes? This isn't always a query of charity or love—it is a question of equality and dignity.

The out of place perception of respecting a rakhwaali stems from the urge to put ladies on a better pedestal—the hotseat of a home goddess, expected to look beautiful and put on decorative Indian weaves even as working like a superwoman.

In the clicking launch, the clothier says, “the idea is to humanise a message”. The phrase “Rakhwaali ke rakhwaale” reaches the viewer through the voiceover within the video—why do women need a protector even though?

Some of the captions in the marketing campaign’s Instagram posts highlight how “as opposed to glorifying the girls in our household as selfless heroes…we have to be part of the warfare”. In a manner, it does become glorifying her; the protagonist is visible at her performative first-rate with not a hair or pleat out of region. Don’t superwomen ruin a sweat?

Photographs: Abhishek Golecha

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