Rohit Bal, the designer who celebrated his roots

“Two roads diverged in a wood, and I

I took the one less traveled by,

And that has made all the difference.” — Robert Frost  

My earliest interaction with Rohit Bal Gudda was in the early 1990s. I was in the National Institute of Fashion Technology in Delhi. As students, we were required to interact with designers who were all part of Ensemble, the store founded by Tarun Tahiliani in Mumbai, helping them backstage during fashion shows, and then partying after the shows till wee hours of the morning. The world of fashion was in its infancy then and revolved around a few designers like Rohit Khosla, Tarun, Shahab Durazi and Suneet Varma who captured the essence of western fashion and filtered it down for the Indian consumer. There were others like Abu Jani and Sandeep Khosla and Rohit Bal who ploughed deep into the Indian sensibility.

Gudda was known for his colourful and happy disposition, which was reflected in his work and his interactions with people. There was never a dull moment when he was around. He had a magnetic personality that drew people to him, and he was always full of life and energy. This vibrancy translated into his designs, which were often bold, extravagant, and full of life. Whether it was a bridal lehenga, a red-carpet outfit, or a simple kurta, Bal’s creations always had a touch of his exuberant personality.

Bal’s designs were more than just clothing; emotive in nature, they were a form of artistic expression that conveyed deep emotions that reflected the stories and the lush luxury of the almost mythical Kashmir. He had a unique ability to blend traditional Indian elements with Sufi-inspired styles, creating garments that were both timeless and modern.

His shows, each of which was memorable, resembled dervishes dancing to the rhythm of the Valley, capturing the region’s natural beauty and rich cultural heritage. Intricate craftsmanship remained his trademark style to the very end, while his collections frequently featured motifs like flowers, paisleys and chinar leaves, which are synonymous with Kashmiri aesthetics. His use of luxurious fabrics like silk, velvet, brocade and rich embroideries that told stories about the gardens of Kashmir added a sense of opulence to his creations, while his attention to detail ensured that each piece was a work of art. Through his designs, Bal expressed joy, celebration, and a deep connection to his heritage, making his pieces resonate with a wider audience.

My interactions with Gudda continued through my early days, and he was one of the first persons I approached as fashion editor of ELLE magazine when I was in the process of setting up the first fashion week in India in 1998. I approached him and suggested that designers should come together to form an association which would create the fashion week. His response was pragmatic and visionary in bringing the bunch together.

Later, when Lakme and the Fashion Design Council of India undid their association, he had the courage and foresight to work with me and other designers on the advisory board of the Lakme Fashion Week, at great risk to our careers, to bring together the opposing factions in the larger interest of Indian fashion.

Bal’s legacy is not just about the clothes he created, but also about the joy and inspiration he brought to the fashion world. He will be remembered as a designer who celebrated his roots, expressed his emotions through his work, and shaped the future of Indian fashion with his unique vision. His passing is a great loss, but his influence will continue to inspire future generations of designers and fashion enthusiasts.

Yes, of course he had inflictions that one might consider not appropriate but everybody has some, we are not perfect , that’s too boring, but what he did inflict upon us was the joy of fashion and creativity.

— The writer is a fashion designer