With brushstrokes of abstraction and a palette that moves from riotous colour to refined minimalism, Poonam Bhagat’s latest collections—The Paint Box and The Crayon Box—are wearable canvases of artistic expression. Known for fusing modern silhouettes with traditional craft, her label Taika continues to redefine contemporary Indian fashion. As she celebrates 35 years in fashion, Poonam opens up about her creative process, global milestones, and the evolution of Indian textiles in the modern prêt landscape.
What drew you to abstract expressionism as your core inspiration?
I’ve always loved art—especially abstract art. There’s also the joy of working with mixed media, which gives a three-dimensional quality to the work. In our case, we’ve blended digital art with embroidered geometric motifs inspired by the Bauhaus School of Design. Each piece is unique—just like its interpretation.
Mark Rothko has always inspired me, particularly his play with contrasting colours. The Paint Box reflects that—my own attempt at harnessing emotion through colour. My first runway show inspired by Abstract Expressionism was Autumn/Winter 2010 at Fashion Week. That’s when I began experimenting with appliqué and embroidery. Now, we’re fortunate to have a much broader canvas to explore.
How do you translate the emotional intensity of art movements like Bauhaus or Japanese Zen into fashion?
The Zen aesthetic deeply values asymmetry, simplicity, and naturalness—principles we’ve consciously tried to embody in our work.
Fukinsei (asymmetry/irregularity): We create asymmetrical hemlines and art forms that may not be conventionally balanced, yet are in perfect harmony. Kanso (simplicity): Our outfits are unpretentious and functional, yet rich in quiet beauty—clean lines, minimal clutter. Shizen (naturalness): We use natural fabrics that flow freely with the body, allowing silhouettes to move with grace and ease.
As for Bauhaus, we’ve drawn heavily from their bold colour blocking, abstract compositions, and the use of simple geometric patterns—circles, triangles, and rectangles—along with cuts that play with asymmetry.
The collection feels playful yet deeply thoughtful—with motifs like dragonflies, polkas, and geometric patterns. What’s the story behind these elements?
In Spring/Summer 2010, I was greatly influenced by Joan Miró—his work was both playful and sensual. His splash of primary colours had a childlike innocence, yet carried serious undertones. I presented a runway collection inspired by him that year. It was a bit avant-garde at the time, but it remains one of my favourites.
After that show, King Felipe and Queen Letizia of Spain—then the Prince and Princess—were visiting, and I had the good fortune of presenting her with two Miró-inspired ensembles straight off the ramp. Since then, I’ve always gravitated toward that kind of playful, thoughtful symbolism.
The Crayon Box, as a sequel to The Paint Box, narrows the palette. What inspired this shift in tone and mood?
The Paint Box was a riot of colour—a convergence of bold hues. The Crayon Box is more restrained, limited to black, ivory, and a primary colour flowing subtly into each other. It’s softer, more introspective, yet just as dramatic. I think I was subconsciously designing for an older audience with this collection—more mature in tone, but still expressive.
From the ramp in Paris to the Kennedy Center in D.C., your work has travelled the world. What have these global stages taught you as a designer?
Humility.
Designing for Opera Lafayette’s performance at such iconic venues must’ve been extraordinary. How did that experience influence your work moving forward?
It was one of my proudest moments—designing remotely for a French ensemble of 23 artistes, both men and women, all with unique body types. I had to study the libretto thoroughly to understand each character, which helped me design not just clothing, but costumes with meaning.
It was completely different from a fashion show, where models are more or less the same size. There was analysis, interpretation, and emotional depth involved. It also gave me a better understanding of my real customer—and what she wants to wear. I firmly believe that women should dress not only for their body type, but for who they are. That’s the only way they’ll truly feel comfortable in a Taika.
What do you feel the Chennai market responds to in particular—any favourites or patterns you’ve noticed?
The Chennai market has evolved immensely since I started selling here over 20 years ago. There’s a clear shift toward modernism, with just the right touch of tradition. They love to experiment with prints and patterns, as long as the silhouettes are light, breathable, and suited to the climate. Tunics with pants, or tunic dresses, are perennial favourites.
You’ve been part of FDCI’s Board of Governors an involved in khadi showcases—what role do you see Indian textiles playing in modern prêt?
Indian textiles have gone global in a big way. Chanel, Dior, Hermes, Alexander McQueen—many of these houses draw inspiration from our textiles and embroideries. The sari is being reimagined globally. So is the turban. Even the humble Kolhapuri chappal walked the Prada runway this season. Indian textiles are no longer just part of global fashion’s past—they are shaping its future. As the industry moves toward handcrafted, ethical, and local values, our 3,000+ textile traditions offer both innovation and authenticity.
Price on request. At Nayaab. On August 8. From 10 am to 7 pm. At Welcomhotel by ITC.
—manuvipin@newindianexpress.com
@ManuVipin
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