Our 2013 Fall-Winter women’s collection is inspired by the culture and mythology of India. We looked for inspiration in the temples and tales of warriors and divinities, but also in dancers and actresses. The “Eye Beams” video, which sets this collection to music, is a tribute to Bollywood culture and to traditional Indian dance forms, such as bharata natyam and kathak. Here are some explanations about the mudrās, these typical hand signs that can be seen in Indian choreographies and which give them so much meaning.
Mudrā (devanāgarï: मुद्रा, which means “sign”) is an ancient sanskrit term, taken from Vedic culture, but which is also found in Hinduism and Buddhism. A meaning is attached to every position: it often refers to the precise position of the hand of a person or a deity. There are mudrās for a single hand or for two hands and by combining them, a varied language can be created, which may be spiritual or may tell a story.
In the Western world, dance and Bollywood films have popularized the mudrā, with meanings that can vary. While some mudrās have only an aesthetic significance, most of them represent people, objects, animals, deities, as well as feelings and abstract concepts.
In Asia, many sculptures use mudrās to illustrate the life of Buddha, often associated with the mudrā of meditation. Buddha is often represented sitting with his hands in his lap, his right hand resting in his left, palms turned upwards with thumbs touching. The practice of mudrās can actually have a beneficial effect on the body and the mind and they are often associated with the idea of “yoga for the hands” because they stimulate the reflex zones of the fingers and hands. Associated with the chakras, they contribute to balance and they contain the energies of both yin and yang. For optimal relaxation, and especially for beginners, it is recommended that only one mudrā be practiced for several days, several times a day, while breathing through the nose. It is important not to have any tension in the fingers, and to keep the pressure very gentle.
Image credit: Subcommandante
Our new video on this season women's collection is a tribute to Bollywood cinema. Super dense images, filled to the brim with movement, akin to the prints of the Fall/Winter collection.
"For our Fall/Winter 13 collection video we wanted to pay reverence to a culture, rite and form that we have been obsessed with for a very long time. This film is an ode to Bollywood dancing. The movement, the choreography, the energy, the color - all of the elements that contribute to this traditional Indian style of dance is beautiful and we felt it was the perfect way for us to express the intensity and spirit of the garments from our women's Fall Winter collection. Three girls, nimble and elegant, move with an agile grace through the dark room, lit only by the headlights of the cars and an oversize lamp, a reference to the powerful moon that looms over every movement. The all-seeing eye, a prominent print in the collection, tattooed now in the dancers' palms alludes to the strength of extra vision, and also to a spiritual protection from above."
Carol and Humberto
Partel Oliva - duo directors - explain that "the entry point was Ilaiyaraaja, one of the greatest Indian film composers, and from his bottomless repertoire we picked a song from the Tamil movie "Chinnappadass" (1989). It's a great percussive song, which immediately brought to mind a hyper compressed dance number, as if the wonderfully extensive dances that define Bollywood cinema were condensed into a flurry of frames, shots and moves. In the second part of the video, scored by French producer Surkin, we move into classic 90s rap promos territory".
Directed by Partel Oliva
Produced by Iconoclast
Producer: Roman Pichon Herrera
DOP: Nicolas Loir
Editor: Nicolas Larrouquere
Choreography: I Could Never Be A Dancer
Dancers: Aliashka Hilsum, Ana Pi, Claire Tran
Styling: Annabelle Baldero Lacuna
"Aathu Ethu Yethu" by Ilaiyaraaja
"Lotus Rhythm" by Surkin
Special thanks to Julien Dechery