Gold, memory and modernity in Thangam by Vivek Karunakaran

Thangam is my latest festive menswear edit. Thangam means “gold” both in Tamil and Malayalam. But beyond the literal, it represents value, memory, heirloom, and quiet strength. In South India, gold is never occasional. It is lived with, passed down and softened by time.

Thangam reimagines gold not as luxury, but as proof of permanence. It is deeply personal. It is about inheritance, not just of jewellery or silk, but of values. I wanted warmth, not glare, and so the colour palette moves through shades of muted antique gold, burnished ivory, temple beige, soft turmeric, aged sandalwood and hints of deep wine and aubergine. The palette is luminous without being loud. Structured bandhgala with softened shoulders, layered open sherwanis with lean, elongated proportions, relaxed veshti paired with tailored jackets, layered angavastram styled with dhoti trousers and panchagajams are a few of the silhouettes we’ve played around with.

The textiles of Thangam comprise handwoven Kanjeevaram silk reinterpreted into occasion jackets, pleated palazzos, veshtis and the VK quintessential shakets, lightweight brocades with a matte finish, crushed textures, and subtle zari that feels aged rather than shiny.

Our previous edit Idam has not moved but has aged beautifully. In this chapter, gold becomes what survives time, what remains after touch, ritual, repetition, and inheritance. If Idam was about place and memory, about Chennai and nostalgia, Thangam is all about value and permanence. Idam was textural, layered and introspective, while Thangam is distilled, elevated and more ceremonial. The colour palette deepens and is closer to jewel tones, while the textiles become extremely textured.

Ivory-on-ivory tonal dressing, lightweight silks instead of heavy brocade and embroidery, monochrome layering with subtle textural differences and veshti styled with contemporary jackets. Softer gold accents instead of bright metallics will also trend. Overall, I feel that grooms are choosing refinement over flamboyance.

Relaxed tailoring, textured neutrals, craft-led pieces and elevated basics are here to stay. Double-breasted silhouettes, structured shoulders, and statement bandhgalas with subtle detailing have made a comeback. Fashion, for me, is identity and when worn well, it is the most powerful form of luxury.

The new ethnic wear is rooted but not rigid. Men are choosing identity over trend. Heritage textiles are being used in modern silhouettes. We are seeing the veshti worn more confidently beyond South India, which is so very exciting. We are seeing a lot of muted zari and antique metallic tones. The sherwani length has become shorter and crisp. We are also seeing layered drapes over structured tailoring.

One heirloom-inspired piece: a perfectly tailored ecru bandhgala in a subtle jacquard or Kanjeevaram, a silk statement jacket with subtle zari layered over a neutral kurta set and a modern veshti styled with preci- sion and elevated detailing.

This year is going to be all about expansion, but approached thoughtfully. We are working towards strengthening our festive and wedding vertical. Strategic collaborations and international trunk shows will be an exciting part of the growth curve. We will also be working towards deepening our South Indian narrative globally.

I’m always drawn to quiet power, the kind that doesn’t need to announce itself. Memory, architecture, temple walls, South Indian script and music have been some of the elements at the top of that list. The idea of masculine grace without aggression — one that’s powerful and elevated — is where I would place it.

There could be a lighter festive crossover line in the making, and an international edit that adapts Indian craft for global wardrobes, where the collection continues the same thread.