005: Inside Kshitij Kankaria’s World: Playing with Nostalgia and an Unusual Take on Building Visual Narrative

⌛ 6 MINUTES

Born into a family of doctors, structure was a central theme in young Kshitij Kankaria’s life, and something he grew up to be averse to. To break away from his structured domestic life only to get stuck in a structured professional life was not his plan. “I don't do well with guidelines,” said Kankaria when asked about his unconventional route to fashion styling. “I didn't want a magazine to dictate my style.” Building one’s career without the credibility that comes from being associated with established titles/celebrities is definitely a struggle but it was a price he was happy to pay for creative autonomy.

“I don’t know how to style to make the garment the hero. For me, the story is always the hero.”

“How can you tell a story when it's not yours to tell?”

Growing up in Madhya Pradesh, fashion wasn’t a big part of Kshitij’s formative years. He knew of Bollywood, but his understanding of even that was very different. No one in his family was related to or even interested in fashion. However, a fundamental skill he always had and continues to use extensively in his work is observation. “I grew up observing how people function in quintessentially rural Indian cities,” he says. The nostalgic value that is seen in his work is a result of these early memories.

It can be very powerful when you harness your experiences to create art — and as per Kshitij, it also makes you irreplaceable because no one other than you has had the same experiences. These experiences, however, cannot be falsified. They have to come from a place of honesty.

“With any art form, whether it's music or painting or something else, you would know when the product is not true to you”

And what's true to you? “Simplicity.”

Over the years, he has done numerous shoots, some in styles different than his own - but in retrospect, he says he didn't connect with them. Kshitij says discovering his style was like trying different cuisines. One can try as many cuisines as many times as they’d like but eventually, they’ll know which one is and isn’t for them. “That's how I discovered my style. After recognising it, I became conscious of working with it.”

Authenticity and research are very important to him as a creative. A stunning tableau of women in long-tail gowns in a rural setting for no apparent reason other than glamour is not Kshitij's style. “I always question whether this person in this get-up would exist in this environment under any circumstances. If not, then I am not creating that image. You'll see nothing unrealistic in my work.” It's this realness of the imagery that makes an emotional connection with the audience and leaves them feeling a sense of familiarity. Translation of emotion is much more important to him than going after seasonal trends.

“The kind of projects I have done in the past, they could have gone wrong in so many ways,” says Kshitij. Hence, it becomes imperative to research intensely to bring forth the true narrative. Being true to the culture he is representing and doing justice to the topic is as paramount as it is difficult. “I have also had my share of errors but I have gone back [to the brand/publisher] to say we can't release it because we have lost the very point we were trying to make.” Producing consistently good work is very important to Kshitij. He admits that if a shoot comes out badly, he has sleepless nights.

Bagging International Projects

Up until then, it was uncommon for international fashion publications to feature Indian stories. That doesn’t, however, go to say that they didn’t want to. When magazines like PAPER and Dazed came across Kshitij's work through Instagram, came across Kshitij's work through Instagram, where he actively shared his styling projects, his aesthetic and portrayal of Indian culture impressed them and they reached out to him to work as an ally to create content for this market. “In the early days, my work was found to be too subtle, subdued or plain by publishers here. It wasn't glamorous enough for their taste — while internationally, the same imagery was appreciated for its soulfulness.”

“I get personally invested in my projects; hence, it is very important to take up the right ones.” And how do you choose your projects? “Three things are very important to me — creative freedom, budget and the opportunity to learn. A project might not necessarily have all three but a minimum of two is required for me to say yes,” says Kankaria. “Increasingly now, I also try to understand if I personally associate with the qualities of a brand. If I can't connect with the brand, then I am probably not going to be able to authentically tell its story, so I wouldn't take up that project.” When ideating for an editorial, Kshitij often picks up a topic that is unsaid, untold or hasn’t been told in the same way that he would, coming from the fashion industry.

~ Shedding the Last Layer: Gay India Awakens to New Freedom

For Shedding the Last Layer, a story published in PAPER magazine, Kshitij and photographer Ashish Shah shot a series depicting members of the Indian LGBTQIA community following the Section 377 verdict. Kshitij recalls having long conversations with the artists they featured prior to the shoot. “I wanted to know everything about them — where they were born, how their childhood was, etc.” Having met them for weeks to learn more about their journey and their reflections on the verdict, Kankaria gained perspective on how he wanted to portray them.

“When shooting a series related to complex topics, like racism or LGBT+ rights, you can't be naive or inadequately aware.”

Kshitij finds it critical to have an understanding of issues, where they come from, why they exist, their consequences, etc. and has now started studying different cultures and their adoption, without necessarily being involved in projects related to them.

~ Young Love in the Small Towns of India

In a series of images shot by Ashish and Kshitij, India-born and London-based designer Ashish Gupta pays homage to young love in the small towns of India.

“Love was so quiet and silent, almost shy. Public displays of affection or even open conversations with romantic partners were not commonplace. There were many layers to their emotions; sexual behaviour wasn't impassioned but gentle. These nuances can either be known through personal experience or deep character research.”

For this shoot, they used Ashish Gupta’s collection but they also sourced from the streets. Working in fashion, your idea of fashion becomes very limited. You forget what fashion means to a girl meeting her boyfriend for a date. You have to think about how to make the collection fit in this setting; it shouldn't seem like an outcast, it should be relatable and real.

“You can take these great clothes, go to a location and do a great shoot, but it will be a shoot no one remembers if there’s no opportunity for emotional connection”

On the reason for his extensive collaboration with the same set of creatives, Kshitij talks about creating a synergy. Since it takes both time and effort to establish that synergy, it becomes quicker and easier when that relationship already exists. Similar backgrounds, a common aversion to moodboards and equal affinity for research have set the foundation for his working relationship with Ashish Shah (photographer for both editorials mentioned above) that goes back to their early days in the industry.

What’s the difference in the research you both undertake? “While my research goes deeper into the past and the story, he researches the emotions and deeply studies the characters.”

High Stakes Hot Takes // Kshitij Kankaria

~ On Inspiration

Kshitij’s inspiration for fashion doesn’t necessarily come from fashion. It comes from films, music and literature; reading, being aware of the socio-cultural environment, and then thinking about how he can express it through his art form that is styling. Though not one to work with them unless necessary, Kshitij says his mood boards hardly ever feature fashion images. “I really like how Wong Kar-Wai shows emotion in his films. On [characters’] faces, in their eyes. How lighting changes with the mood of a scene.” When an emotion is evoked in the audience by mere screen direction, he observes the frame closely.

~ On Social Media

Over the past few years, fashion stylists who often stayed BTS have very much become celebrities in their own right, courtesy Instagram. Kshitij has a different take. “I never want to become a household name. You won’t know where I am travelling, who my best friend is, what products I am using. People [on social media] want to behave like they are your friends, but social media is not that for me.”

“You’ll know how many dogs a stylist has but you won’t be able to tell their style.”

Kshitij wants to create that sense of familiarity with his audience in connection to his work, not his personal life. Being an influencer has been embraced by most stylists but Kshitij calls his aloofness another conscious and strategic decision to stand apart from the crowd.

~On Fashion Shows

The purpose of a fashion show might have evolved but it’s still relevant as a platform for brands to say what they stand for. It gives you relevance and remembrance amongst the customers. It’s also highly engaging and entertaining. But Kshitij is against the endless cycle of shows and weeks. According to him, it’s expensive, promotes a toxic work culture by putting unnecessary pressure on smaller businesses and has environmental costs. Fashion shows, however, are not a one-size-fits-all approach. By not participating also you can make a statement. Do what’s right for your brand.

~ On making it big in this industry

Discipline and commitment are paramount. Creativity and storytelling come later. If you’re not punctual or can’t keep your word, you’re going to have a hard time.

Lately, Kshitij has been using his creative prowess and understanding of the millennial sensibilities to help brands like FILA, Adidas and Pahadi Local to tell their story better with a strong focus on visual narrative.

As we reach the end of the episode, we sign off with some rapid 🔥 questions. Get the popcorn and start reading!