#Priya Ahluwalia

[pro-royalty]

India Armarteifio x BAFTA Film Awards (2024)

#india amarteifio #baftas 2024 #black girl magic #beauty #priya ahluwalia #fashion #black beauty #biracial #bafta film awards #bafta 2024 #bafta awards #pro-royalty

[sinnamonscouture]

Tolu Coker, Priya Ahluwalia & Torisheju Dumi for British Vogue January 2024

#Tolu Coker Priya Ahluwalia & Torisheju Dumi for British Vogue January 2024 #fashion #style #model #beauty #black model #black fashion #tolu coker #priya ahluwalia #Torisheju Dumi #british vogue #fashion design

[purplecatruins]

Vibrant and genderbending (still looking for a better term!) clothes with a nod to the designer's Indian-Nigerian heritage: Ahluwalia Fall 2024 Ready-to-Wear.

Priya Ahluwali likes seeing people on the streets of Soho (London) wearing her clothes, so a lot of them are ready-to-wear and elevated street wear. This collection contains some special occasion designs in more classic colours such as black, dark green and blue, embellished with silver.

In love with the first look, the bright, burnt orange dress (it has a hoodie :D - yay!) and the cardigan as well as all of the prints! And the patchwork denim dress with its own collar/headpiece is amazing!

Love the diversity of the models, the different fits, silhouettes, and mixing options!

Credit: https://www.vogue.com/fashion-shows/fall-2024-ready-to-wear/ahluwalia-studio/slideshow/collection

#ahluwalia #priya ahluwalia #london fashion week 2024 #fashion #photography #london 2024 #vibrant colors #genderless fashion #genderbending #diversity #lfw #lfw 2024 #art #nigerian artist #indian artist #runway #straight from the runway

[keepitcouture]

Ahluwalia fw24 RTW

#fashion #ready to wear #fall/winter #runway #lfw #london #london fashion week #Ahluwalia #priya ahluwalia

[batmanbeyondrocks]

Credit: Ahluwalia by Priya Ahluwalia via beyondfashionbusiness

#IG #Instagram #beyondfashionbusiness #Priya Ahluwalia #Ahluwalia@ahluwalia #Fashion #London Fashion #London Fashion Brands #Models

[cozyaliensuperstar7]

Black Designers 👑

naomi:

BRAVO @edward_enninful @britishvogue , this is what’s it’s about shining the light and sharing our platforms with the young creatives !!! So Happy for you All .. #EMERGE IS committed to supporting making a contribution to you . Great to see your All WOMEN !! #weneedmorefemale designers #culture #africa #sustainability #nigeria #EMERGE ❤️❤️❤️🇳🇬 TOLU COKER, PRIYA AHLUWALIA & TORISHEJU DUMI\n#Sustainability\nTRAILBLAZERS\nFASHION'S CALL TO ACTION\nFeaturing on the second of trio of covers for the January 2024 issue of @BritishVogue, a group of three incredible rising star designers, @Priya.Ahluwalia1, @ToluCoker and @_Torisheju.- - all of Nigerian descent who show how being environmentally minded in your work can be as ordinary as it is inspirational. , on newsstands Tuesday 19 December #ToluCoker, #PriyaAhluwalia and #TorishéjuDumi photographed by @CharlotteMWales and styled by @poppykain

blackmagcovers:

@etcoker, @Priya.Ahluwalia1, and @_torisheju_ for @britishvogue. #blackmagcovers #tolucoker #priyaahluwalia #torishejudumi

#tolu coker #priya ahluwalia #torisheju dumi #naomi campbell #vogue magazine #beautiful black women

[newestcool]

Ahluwalia f/w 2023 rtw Creative Director Priya Ahluwalia Models Kelvin George Amankwah, Angair Biong, Mamuor Majeng, Kelvin George Amankwah, Ottawa Kwami & Shivaruby Fashion Editor/Stylist Nell Kalonji Makeup Artist Mata Marielle Hair Stylist Cyndia Harvey Manicurist Ama Quashie Set Designer Julia Dias Casting Director Troy Fearn Photographer Daniele Oberrauch

Newest Cool on Instagram

#newestcool #newest cool #ahluwalia #priya ahluwalia #runway collection #fashion runway #runway walk #runway show #runway fashion #fall/winter 2023 #fall/winter #lfw23 #lfw2023 #london fashion week #modest high fashion #automne/hiver #prêt à porter #prêtàporter #ready to wear #rtw

[digitaltariq]

Ace & Tate hyperlinks with Priya Ahluwalia for first collab

Eyewear specialist Ace & Tate has launched its first-ever collaboration with London-based trend model Ahluwalia. It mentioned the collab “champions values of creativity and accountable design, whereas tapping into the eccentric power of the London trend scene”. Ace & Tate x Ahluwalia The types have been initially unveiled throughout Ahluwalia’s SS24 runway present that includes the ‘Acknowledgements’ assortment. Priya Ahluwalia has made a significant impression in current seasons with designs that mix her Nigerian-Indian heritage together with her London roots. She mentioned: “For this collaboration I infused our signature fashion, taking part in with layering prints and textured acetate, leading to a singular visible tapestry.” Ace & Tate mentioned the brand new sun shades line “attracts inspiration from ignored artists of the diaspora, serving as a tribute to their under-appreciated work. A few of the motifs of the gathering, symbolically ‘giving flowers’ to those that hadn’t obtained recognition earlier than, are printed on the directional Niku and Mirko types, newly launched from Ace & Tate’s SS24 assortment”. The maximalist and barely winged Mirko body shall be accessible in two modern colourways. Mirko in Baya is a playful pink body with matching pink lenses and a subtly standout dotted sample. It’s impressed by the work of Baya Mahieddine, one in every of Algeria’s most celebrated artists, well-known for the work that might encourage Picasso to color a set known as Girls of Algeria. Mirko in Namsa is extra of a traditional alternative, with a daring sample solely on the within of the body. For these in search of a “modern and complicated silhouette”, the Niku body presents an oblong design that includes the Aurat and Valaida motifs. Each colourways function a custom-made core wire with Ahluwalia’s signature ‘A’. Every pair is available in a comfortable cotton pouch with the “Ace & Tate by Ahluwalia” emblem and a cleansing material that includes Ahluwalia’s prints. They're packaged in an ethically-sourced sugarcane field with paper wrapping displaying Ahluwalia’s signature prints. They’re accessible now on the Ace & Tate Hanbury retailer and on-line at aceandtate.com and ahluwalia.world for €130/£130/$150 every. Read the full article

#Ace #Ahluwalia #beauty #Both #collab #fashion #links #luxury #network #Priya #professionals #Tate

[princesscatherinemiddleton]

The Duchess of Cambridge presented the Queen Elizabeth II Award for British fashion to Saul Nash. Nash is the fifth recipient of the prize; previous winners include Richard Quinn (forward thinking womenswear and textiles), Bethany Williams (sustainable fashion designer), Rosh Mahtani (Alighieri jewellery), and Priya Ahluwalia (multicultural representation across the fashion industry) | May 4 2022

#mine #royaltyedit #kate #bfc22

[estie-references]

Ahluwalia Spring/Summer 2023

Priya Ahluwalia - Designer Nell Kalonji - Fashion Editor/Stylist Issac Poleon - Hair Stylist Mata Marielle - Makeup Artist Julia Dias - Set Designer

#Ahluwalia #SS23 #m

[littlemix-styleblog]

Leigh At London Fashion Week | 18th February 2023

Ahluwalia Priya Button Down Top: £470

Ahluwalia Priya Skirt: £445

#Little Mix Fashion #Little Mix Wardrobe #Little Mix Top #Little Mix Clothes #Little Mix #Little Mix Style #Little Mix Skirt #Little Mix 2023 #Little Mix Designer #Leigh Anne Pinnock #Leigh Anne Pinnock Wardrobe #Leigh Anne Pinnock Fashion #Leigh Anne Pinnock Style #Leigh Anne Pinnock Clothes #clothesleigh #February23 #Ahluwalia

[universomovie]

Ahluwalia e Ace & Tate colaboraram juntos pela primeira vez

by Gabriel Córdoba Acosta Ahluwalia and Ace & Tate Spring/Summer 2024 Aproveitando a chegada da primavera e os primeiros raios de sol, Priya Ahluwalia , fundadora e diretora criativa da sua marca homónima, e Ace & Tate revelaram a sua primeira colaboração conjunta, uma coleção de óculos de sol Primavera/Verão 2024 inspirada na linha do designer apresentada em Londres em setembro passado…

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[movienized-com]

Adhura

Adhura (Serie 2023) #IshwakSingh #RasikaDugal #ShrenikArora #RahulDev #PoojanChhabra #MedhaAgrawal Mehr auf:

Serie Jahr: 2023- Genre: Horror / Thriller Hauptrollen: Ishwak Singh, Rasika Dugal, Shrenik Arora, Rahul Dev, Poojan Chhabra, Medha Agrawal, Zoa Morani, Priya Banerjee, K.C. Shankar, Mridul Ahluwalia, Samridhi Chandola, Preet Bharadia, Chinmay Chandraunshuh, Sahil Chhabra … Serienbeschreibung: Ein übernatürlicher Thriller, der in einem Eliteinternat spielt, das eine so dunkle Geheimnis…

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#Amazon Prime #Ishwak Singh #Rahul Dev #Rasika Dugal #Shrenik Arora

[sterlingcapricio]

The London-based creative made her mark on fashion with sustainable, conversation-starting menswear. Now, her universe is evolving. "SISTA MAKING IT HAPPEN 2024"

[chloeunitfive]

Young Designers Showed Sustainability in the Fashion Industry

The frenzy of fashion month may frequently clash with the industry's pressing need to mitigate its environmental effect. While brands committed to more ambitious action to reduce greenhouse gas emissions during Cop26 in November, there were few signs of what tangible action is being taken to achieve that, with the exception of some stand-out moments at familiar names such as Gabriela Hearst, Stella McCartney, and Vivienne Westwood, and new innovations at Balenciaga and Diesel. What was notable this season was the amount of young designers advocating sustainability. While names like Marine Serre, Collina Strada, Bethany Williams, and Ahluwalia have made their mark in recent years, a new generation of talent is emerging. – including the likes of Conner Ives, Harris Reed, and S.S. Daley, who all use upcycled materials to create their designs.

Despite just graduating from Central Saint Martins in 2020, Ives' reconstructed creations, built from vintage T-shirts, jerseys, and silk scarves, have already proven popular, with Rihanna among his followers. While sustainability is inherent in his creations, he, like many other designers of his age, does not regard it as a selling factor. "I would love [people] to buy the product because they think it's a nice product, and through the process of buying it, realise that it's sustainable and responsible."

It's a sentiment shared by Priya Ahluwalia, who presented her debut runway show in London this fashion month after previously opting to exhibit via film. "I've said from the beginning that sustainability is part of the foundation of the brand, but sometimes I think I don't get my flowers for actually being a designer," she remarked. Nonetheless, the filled benches at Ahluwalia this season, as well as recent collaborations with Ganni and Mulberry, and the debut of her first full womenswear line, demonstrate the designer's rising reach - and, yes, her environmental practises. Continuing to build her business in an environmentally sustainable manner will be a priority in the future. “I want to show that you can be [a] thriving business while also being responsible – that’s my goal,” the designer continues. When Ahluwalia and Ives move into production, acquiring bigger numbers of deadstock fabrics to match their runway or lookbook designs can be difficult. "In our first year, a store wouldn't know what colours they were going to get [for our T-shirt dresses]," says Ives. "We saw that as an advantage - you can know for a fact that this is a one-of-a-kind dress that no one else will have." At the same time, Ahluwalia started Circulate last November in collaboration with Microsoft in an attempt to crowdsource unwanted apparel. "I wanted to create something that will solve an issue within the business [and] encourage people to engage with sustainability," the designer goes on to say. "A future plan would be to figure out how to keep the B2C [business-to-consumer] elements but also open it up as a B2B [business-to-business] platform, so businesses could also submit big batches of [deadstock]."

While collecting antique and deadstock might take time, neither Ives nor Ahluwalia are concerned about running out of pre-existing materials. "If the industry continues at the trajectories that we're going at now, I will never run out of T-shirts," Ives said. But, as Gabriela Hearst pointed out this season, finding high-quality deadstock from mills may be difficult for more known labels, since a rising number of firms follow the practise of using unused materials. "While [using deadstock] is a great disruptor for young [businesses], more established brands have a hard time tapping into enough deadstock or vintage materials," adds Dio Kurazawa, founder of sustainable fashion consultant The Bear Scouts. Although the entire industry is unlikely to convert to deadstock and vintage anytime soon, there is little doubt that young designers are playing a significant part in undermining the established economic paradigm. S.S. Daley, for example, sells recycled "drops" online alongside the brand's core collections, while Ives has elected to exhibit only once a year to enable more time for research and development. Meanwhile, Harris Reed's demi-couture approach demonstrates that exclusivity truly pays. He told British Vogue's fashion critic Anders Christian Madsen about the difference between his model and that of his Central Saint Martins contemporaries who went into ready-to-wear: "They have to get all their orders out… I can acquire what they make from four stores' orders in a pair of pants and boots. That seems really impolite, yet there is an experience there." Whether it’s moving away from virgin materials or embracing the art of slow fashion, these designers are showing how it is possible to build a brand in a sustainable way – and without having to sacrifice on creativity or style. The rest of the industry would do well to take note.

Reference:

Emily Chan. (2022). This Season, Young Designers Showed What A More Sustainable Fashion Industry Could Look Like. [Online]. British Vogue. Last Updated: 11 March 2022. Available at: https://www.vogue.co.uk/fashion/article/young-sustainable-designers-aw22 [Accessed 7 November 2023].

[diasporic-dossier]

CRITICAL ANNOTATION

Diasporic Dossier, an archive of artists and works that influence my MFA practice, hosts both expressionism as well as feminism and empowerment within its content as frameworks to analyse one’s creative practice. 

  Decadent in emotion, ritual, and communal influences, my South Indian heritage establishes an immersive understanding of expressionism through its unique art forms, existing as early as the seventeenth century. Forms such as Kathakali analyse the narratives of the “Ramayana, Mahabharata, and the Puranas” (Kathakali, 2022), ancient, religious, and philosophical epics. Brought up as children of the mythical universe within these texts, the culture of India adopted a fashion of life that can be described as of a spiritual, parabolic nature. As the evolution of its culture became richer, India’s autonomously divided sub-cultures delved deeper into various forms of expression, gratitude, and devotion, continuously encouraging an allegorical form. 

  As exemplified within my dossier, dance, a critical element of the established expressive structure of India, weaves its motion into meaning, symbolism, and allegory. Strained through decades of colonialism, India’s emotional and cultural autonomy has diminished in fear of Western perception. As trends accelerate with the force of capitalism, eastern practices are filtered, revoked of sentiment, and then marketed in the West as a quick fix to the consuming nature of the current political climate. Overcoming my spite for concepts like cultural appropriation, this dossier pushes an agenda of finding my footing within both the South Indian (Malayalee) identity I have been yearning to claim as well as the modern ideologies of the West I proceed to integrate into my practice. As I collate this archival dossier, I adhere to the unity that India’s artists and traditionalists converse within, reclaiming the power, the right, and the liberation to wholeheartedly embrace the culture we were intended to live by and amongst. 

  In communion, expressionism and feminine embodiment engulf the works, artists, and ideologies I find myself attracted to. Innate to the physicality of dance and its emotional nature, feminism adores the true feminine form, isolating this idea of form from gendered concepts. Reinforcing India’s expressive culture, the impression of the feminine and masculine is defined as energies, as opposed to the existing binary perspectives. Present as energies, it encourages an individual to either empower one, disempower the other, or bring both to a state of equilibrium. A dossier as immensely influenced by dance and the existence of the lush Indian culture; my practice cannot ignore the feminine embodiment of expression as my discipline represents the adorning of one’s physical form—jewellery. 

Catalysing my creative practice, themes of identity, the diasporic experience, and symbolism expand upon the frameworks identified within the dossier. Conscious of both notions, individuals of diasporas find that identity and the diasporic experience activate a pride of fated cultural awe. Embracing one’s culture within the Western landscape is perceived by many through their own biases, received as ‘performative’, 'a soul who is yet to find their spiritual or cultural footing’ or blatantly perceived as the act of one 'who cannot let go of the hand of their motherland.’ Caught within the fine lines of an upbringing in the Western environment, the constant back and forth of cultural identity is either encouraged or absconded by either party. Therefore, absolving oneself of any expectation to be deemed fit for the desire to belong encourages me to practice my art within the cultural realm of my own identity. 

  Some of the artists I have chosen, such as Asha Puthli, Priya Ahluwalia, and Supriya Lele, employ the nuance of existing within the cultural dualities of their identities. Within this undecided, undefinable state, their works emerge as appropriated vessels of compulsion and unanswered curiosity. Finding comfort in artists who reside within similar societal parallels and embrace their cultural dualisms proves for my chosen community of practice to be those who lend themselves to the definition of minorities or diaspora; artists that engage their unique cultural dichotomies, producing further embellished works that speak to their experiences. 

Identifying the precedents, artists, and their distinctive narratives encourages me to define the frameworks within which I proceed with my creative practice. Further understanding of the critical frameworks provided me with intrigue as to how colonial powers have further influenced the attitudes in Indian culture today. Using the information found through this research, I will continue to progress my practice in a direction that strays from the Western influence as much as possible, while acknowledging how my upbringing has been a consistent comparison of dichotomies. Comprehending these questions, the acknowledging of my cultural dualities reinforced my work’s aim, to challenge the conviction of cultural, gendered, political, and societal binaries. 

*Kathakali. 2022. MAP Academy. April 21, 2022. https://mapacademy.io/article/kathakali/. 

ROSE JOHN s3998640 RMIT, MFA, SEM2, CFA