The haunting sound of a flute set the stage at Lahore’s historic Ganga Ram Mansion as Rano Usman unveiled ‘Kayee Chand’ (Many Moons). This collection of fourteen exquisite ensembles paid homage to South Asian cultural heritage, spanning Lahore’s architecture, the Himalayan valleys, and the artistic grandeur of Srinagar, Banaras, Lucknow, and Bombay’s film industry. As a revivalist, Rano reimagined the sehra bandhi ritual, where a groom is adorned before embarking on his journey to wed—a reflection of her brand, Rano’s Heirlooms.
The Spectacle of Tradition
The presentation evoked nostalgia as a live choir performed wedding songs (Ghorri) and the groom processed under an elaborate canopy carried by models, dancers, and friends. “True beauty has to be authentic,” Rano remarked. “I’d like to see brides as they used to be before their wedding, with slicked-back braids and just a red lip for colour.”
Craftsmanship and Devotion
Each piece began as a hand-drawn sketch, evolving through over twenty intricate techniques, requiring up to five hundred hours to complete. A standout design, ‘Hema,’ a shimmering blue lehnga, was inspired by the Sanskrit word for snow. “I was trained by a French nun at the Convent for ten years,” Rano shared. “It took me 25 years to perfect my embroidery, and I did it with commitment, without shortcuts. We also worked for Italian designers for four years; learnt the craft there.”
Architectural and Poetic Influences
Poetry and architecture shape Rano’s work, evident in her recurring scallop motifs. These appear in the Kashmiri green gharara, Banaras Pink kalidaar, and a striking red-and-white lehnga inspired by roses and Arabian jasmine. Drawn to scallops in colonial and classical designs, she adapted them into delicate gajra patterns, making them a signature of her brand.
The Legacy of the Rose
One of her most unique elements is the oversized rose, carrying a touching story. “Mehdi, one of the most respected artisans in the business, came to me one day with a sandooqchi (metal trunk) full of naqshas (patterns) to sell. Sensing he was in need, I gave him what he asked for with a bottle of Rooh Afza as a token of respect. When I later unraveled the scrolls, they bore mohrs (wax seals) from Bombay’s film industry. These art-deco roses were unique, and I felt blessed to incorporate them into kalidaars. Mehdi passed away, but the roses kept his legacy alive.”
Reviving Lost Textiles
Rano thrives on restoring aged textiles, once salvaging a client’s grandmother’s indigo-dyed, baadla-embroidered cotton gharara. “Cottons have character, modesty, and humility that only the dervish or the badshah understands,” she reflected.
A Celebration of Awadhi Heritage
Bridging the past and present, ‘Kayee Chand’ reinterprets Awadhi craftsmanship with baadla and dhaga embroidery, using gold and silver hues to symbolize the eternal dance between the sun and moon.
Pictures and Quote source: Vogue India