122 VOGUE INDIA JUNE http://www.vogue.in
FALGUNISHANEPEACOCK 3
Feathers, sequins and prints—if you thought FSP only stood for Falguni
Shane Peacock, you’re mistaken. According to the designers, the three
elements are a large part of their label’s DNA, and with these as build-
ing blocks, and the likes of Anna Dello Russo, Beyoncé and Lady Gaga
as their muses, loud and proud has always been their mantra. “Maxi-
malism is everything to us—our ideology, philosophy, mindset, the way
we think and the way we portray our brand. We don’t have to incorpo-
rate maximalism in our clothes. On the contrary, most of the times we
have to tone it down because our clothes are always ultra-glamorous.
It’s keeping things simple that is diffi cult for us to do!” says Shane. Af-
ter a wave of normcore and minimalism, they explain the resurgence of
opulence: “It helps you stand apart and create your own identity through
fashion,” adds Falguni.—Chandni SehgalBeyoncé in the duo’s designS S ’ 4 TOMOKOIZUMI
Stylist Katie Grand’s discovery of Japanese designer Tomo
Koizumi happened quite by chance on Instagram, when she
double-tapped on Giles Deacon’s repost of Koizumi’s cloud-
like, technicolour gowns. And just like that, a few months later,
the designer of surreal all-encompassing ruffl ed gowns was in
New York for his debut show supported by an A-team of Pat
McGrath, Grand and Marc Jacobs (who turned his New York
store into a runway for Koizumi). Although the self-taught de-
signer makes clothes for a woman who wants to be spotted (Mi-
ley Cyrus and Lady Gaga, among others), he insists that “at the
same time they’re not traditionally maximalist because I only
put essential elements in my design, such as shapes or blended
colours—there’s not too much going on.” What does next sea-
son have in store for OTT fashion’s new wunderkind? “[It will
be] bigger and more fun!” he says.—Akanksha KamathCOURTESY JACQUEMUS INSTAGRAM; FALGUNISHANEPEACOCK INSTAGRAM; LUCREZIA GRANAZZOLI; GETTY IMAGES; INDIGITAL MEDIA; SHUTTERSTOCK.COM5
ASHISH
“Performance artist Leigh Bowery once said, ‘The reason I’m
using sequins at the moment is because if I can’t cast the light,
at least I can refl ect it.’ I had that quote up in my studio when I
fi rst started as a designer. There’s something magical about wearing
sequins—they literally light you up. I like to think fashion is becoming
more fun, more escapist, more colourful—we need it to be an antidote
to the turbulent times we live in. While my creative process starts in
London, an era I like to evoke is late ’70s nightlife in New York—a
heady time. I then come to Delhi to do the embroidery and stay for six
weeks. It’s a total immersion—the colours, clashing prints, street style,
all channelled into my work.”—As told to Akanksha KamathA W ’