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sitanshi talati-parikh

sitanshi talati-parikh

Tag Archives: Gautam Vazirani

The Warp & The Weft

20 Wednesday Feb 2019

Posted by sitanshi talati-parikh in Fashion & Style, Features & Trends, Publication: Taj Magazine, Sustainability

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Embroidery, Gautam Vazirani, Handloom, India, Natural Dyes, Northeast India, Shefalee Vasudev, Sustainability, Sustainable Fashion, Sustainable Luxury, Taj Magazine, Weaving

Published: Taj Magazine, Volume 2, 2018-19

India’s once vibrant and sustainable textile ecosystem may have receded with the drifts of social, economic and political change. A new vigour brought about by a revivified contemporary aesthetic may yet turn the tide, says Sitanshi Talati-Parikh.

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The rich texture of thousands of years of Indian culture seeps in like a natural, yet permanent dye in its fabric and woven traditions. It is a symbolic thread that connects the nation in its diversity; perhaps a striking case where tradition marks culture, where craft describes history and where colours speak of the passage of time —of lives lived and memories created.

Weaves, threadwork and textile decoration, among other indigenous crafts spin yarns —even if coloured with the emotions of the artisans — describing the local life. Influenced deeply by the local socio-economic-political environment, but also linked to moments of celebration, like festivals and weddings. The craft, in some cases, has been a rite of passage: a woman decorates her own trousseau that becomes a part of the dowry she takes with her when she gets married.

While over centuries, communities have survived because of their traditional crafts, these have faced erosion in many ways. As Gautam Vazirani, strategist and curator — sustainable fashion at IMG Reliance/ Lakmé Fashion Week, points out, “Many of our local techniques have changed in the last few decades in terms of authenticity of practice, either at the raw material level or in the original process, or in the woven design approach. Only true craft connoisseurs and historians can highlight the state of many languishing crafts today.”

Shefalee Vasudev, the editor of The Voice of Fashion, a digital destination that explores the intersection of fashion and culture, finds that while there are crafts slipping away from us for varied reasons, perhaps not everything needs to be sustained simply because it once existed. She says, “It has to be seen what can be produced, created and have a sense of utilitarian as well as aesthetic value in the contemporary arts and crafts scenario and then sustained or revived.”

The Changing Colours of Dyes

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Until the late 19th century, the art of natural dyeing—using natural sources like plants, insects or shellfish—thrived in the Indian subcontinent. Indigo (derived from the indigofera flowering plant) lends itself to the fantastical peacock-plume tones of the country. In the 19th century, Bengal was the world’s main source of indigo. The advent of aniline dyes in 1856 by British scientist William Henry Perkin, and their spread to colonial countries, led to post-independence India no longer retaining its tradition of natural dyes with the exception of a few rural communities.

Revival movements in the 1970s by social reformer and freedom fighter Kamaladevi Chattopadhyay and in the 1990s by activist and advocate for craft and natural dyes, Ruby Ghuznavi, initiated the change. But the discovery in 2009 by Dr Himadri Debnath, deputy director of the Botanical Survey of India in Kolkata, of a unique 15-volume set (with 3,500 samples) of Specimens of Fabrics Dyed with Indian Dyes, compiled by British Victorian dyer Thomas Wardle, and believed to have been lost, was pathbreaking to understanding the rich history of natural dyes in India.

Today, conscious designers are willing to pick up the mantle once more. Kolkata-based Maku has brought back the splendour of natural indigo, and brands like Delhi-based 11.11/eleven eleven and Ahmedabad-based Soham Dave only use natural dyes; while Colours of Nature (Auroville) collaborated with Levi’s to launch the first truly organic 511 jeans made with organic indigo dye and local cotton yarn in 2013.

The Art of Fabric Decoration

In contemporary times, industrialised, machine-made versions have largely replaced India’s traditional, rich and varied embroidery forms. The art was popular during the Mughal empire, and Indian floral motifs have influenced British embroidery, including the popular paisley shawls. Colonial demand subsequently led to mass-production and reduction of the handcrafted process which could take months.

Not restricted to garments, forms of embroidery appear on wallhangings, home furnishings, fashion accessories and textiles. Mostly inspired by nature and local life, prints and thread-work would create patterns in vibrant colours often embellished with zari (precious gold or silver thread-work) or varak (precious gold or silver foiling). Genuine varak printing on fabric is very rare today and reportedly there are only two artisans in Jaipur who still practice the art.

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As handmade items are reclaimed as new embodiments of luxury, and local runways are reviving many of the handcrafted techniques, many of these old decorative textile styles have been lost forever—like the Tanjore paintings on fabric using precious materials, which have inspired many offshoots but are no longer available in their original form. The Kodali Karuppura saris, created in a small town in Tamil Nadu, mainly for the Thanjavur nobility, have, Vasudev points out, completely vanished. The hand-painted and naturally-dyed textile flourished under the patronage of the Maratha rulers of Tanjore—today, a few samples can be seen in museums in India and abroad.

While designers like Kolkata-based Sabyasachi Mukherjee and Mumbai-based Anita Dongre have taken up the mantle of India’s embroidery tradition—Dongre has found a way to contemporarise it with brocade dresses and traditional embroidery on western silhouettes—the local craft has also found glamour on international runways. Belgian couturier Dries van Noten has had an embroidery workshop in Kolkata since 1987, while brands like Valentino, Gucci, Givenchy, Balmain, Ralph Lauren and Christian Dior, among many others, work with Mumbai-based trade embroidery companies to this day.

The gara style of embroidery on traditional Parsi saris had been losing popularity and been replaced by machine-made versions—due in part to the diminishing Parsi community and the painstaking process—until there was a renewed interest in the form, along with its use on accessories and the modernizing efforts by designers like Ashdeen Lilaowala. Even as insurgency hit the supply of local craft, Srinagarand-Delhi-based Kashmir Loom by Asaf Ali and Jenny Housego has, successfully contemporized their traditional handwork on cashmere shawls, by incorporating global colours and designs with the age-old techniques, in what they state is, “Preserving heritage while fostering its progress.”

The art of Kalamkari (drawing with a pen) includes stories and mythological tales told on fabric using natural dyes. Kolkata-based designer, Divya Sheth, brings back nature-inspired kalamkari work on her runway pieces.

Sheth says of the experience, “I have had the chance to witness the joy and ease with which the artisans create their masterpieces. The ladies start painting once they complete their daily chores.”

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Handloom Tales

With minister of textiles, Smriti Irani, throwing her support behind Indian handlooms, and the shutterbugs catching the likes of Indian cinema veterans Kangana Ranaut, Sonam Kapoor and Vidya Balan in handloom saris, one accepts that the loom is in focus again and this time, not with the elements that defined the ‘Khadi’ look.

The charkha, or the handloom spinning wheel has a strong symbolic element: while it suggests economic empowerment, it is also an element of the country’s freedom struggle representing self-sufficiency, as well as unity and alliance—it forms the crux between an ecosystem of farmers, weavers, distributors, and consumers.

Among the nomads of Ladakh or in the hills of Kashmir, life and the act of weaving are deeply linked. For instance, in Ladakh, the woven cloth is linked to the birth of a child, where the warp (representing the man) and the weft (the woman) in harmony lead to the creation of new life. And yet, there is a long way to go for the new lease of life of the handloom garment.

Today, Indian artisans are facing a tremendous challenge from the advent of the power loom and machine-made garments. For instance, much of the famous Kota Doria textile in Kota, Rajasthan, is being woven without the real sari (that was a signature material) and the fabric itself is being made in power loom and not in the traditional handloom (for commercial reasons). However, as Vazirani points out, Craftmark’s initiative with Kota Women Weavers is in the process of reviving traditional weaving techniques with genuine materials.

Tribal textiles have been impacted, and consequently the local economy. Vazirani, who has worked extensively in the north-eastern region of India, points out that there has been a shift to acrylic yarns and fabric for weaving instead of cotton, silk and wool yarns, with a mutation of woven designs due to changes in cultural, economic and environmental conditions.

Vasudev brings up techniques that may be lost, like the painstaking Dakmanda weave of the Garo tribe in Meghalaya. Even as the industry in the North East has the highest concentration of handlooms in the country—over 53 percent of looms and more than 50 percent of the weavers live in this region—it is fraught with challenges including poor supply chain management.

Vazirani says, “There is a good opportunity to address the challenges and find sustainable solutions through the Action Plan on North-East India Report—an initiative in partnership with the United Nations in India and IMG Reliance—for the mainstream industry.” And as handloom hits the runway, one may also credit the persistent and long-standing efforts of conscious designers.

For instance, designers like New Delhi-based Rajesh Pratap Singh revert to the old traditional techniques—setting up the loom to make the garment and weaving it from the start. In fact, when Singh’s looms are empty, he uses it to make saris to ensure sustainability not only of craft and thread but also of the iconic garment. Designers like Delhi-based David Abraham and Rakesh Thakore of label Abraham & Thakore and Rahul Misra; as well as labels like Bodice, which won the 2017/18 International Woolmark prize for womenswear, and Raw Mango are among the many designers adopting handmade textiles and handcrafted garments. Misra’s motto is clear on his website: “My objective is to create jobs which help people in their own villages, I take work to them rather than calling them to work for me. If villages are stronger you will have a stronger country, a stronger nation, and a stronger world.”

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The Frugality of Fashion

An intrinsic part of indigenous craft used to be the considered use of materials. Cyclical production was a part of the natural ethos of the communities, as what was made was in direct relation to demand. In India, such thrift is not new: saris and dupattas are used in the manner in which they come off the loom, while designs like ponchos and kalidar clothes are constructed keeping the wastage of fabric to a minimum.

And yet, today, approximately 120 billion square metres of fabric end up as waste in India, China and Bangladesh alone, not including garment rejections during quality checks. Knowing this, Delhi-based Kriti Tula of label Doodlage says she upcycles up to 600 kilograms of waste fabric every month. Designers like Karishma Shahani Khan, the founder of Pune-based label Ka-Sha, in her ‘Heart to Haat’ ideology works with her own scrap and that of industry friends’ material in footwear, stuffed toys, embroidery, patchwork, macramé and bags.

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The State of Workers

While sustainability in terms of keeping craft and knowledge and enterprise alive is important—we are constantly reminded of Mahatma Gandhi’s words: “There is no beauty in the finest cloth if it makes hunger and unhappiness.” A year-long research project called the Garment Worker Diaries that included field study in Bengaluru, India, reported on the sorry state of the garment workers; mostly women.

Long hours, being forced to do more work than their allotted quota, lower pay and verbal abuse were unveiled in the report. In 2013, the collapse of the Rana Plaza building in Bangladesh—which housed five garment factories supplying global brands—saw the death of 1138 people while 2500 were injured, which should be a sufficient wake-up call for the fashion industry.

Today, designers are reportedly making attempts to work directly with cooperatives, like Mumbai-based brand Kishmish with NGO Kala Swaraj and designer Samant Chauhan for the cause of master weavers in his native Bhagalpur, in Bihar. Reportedly, Gaurang Shah works with over 700 weavers across India and The Goodloom by GOCOOP enables a direct connection between handloom cooperatives and artisans. There is a growing, if nascent, push towards better labour and environmental standards and more transparent supply chains, with the advent of global organizations like Fashion Revolution in India.

Demand and Supply

Vasudev points out that the general awareness of what sustainability in fashion means is very poor, and it slants merely towards that which is organic and natural. She believes that to say India is realigning itself towards sustainability would be a premature remark because the masses are not aligned with it. “The sustainability manifestos are lost; they have to be brought together and pushed in a contemporary format and I do not see that happening very much, even as the sustainability argument is staggered with clued-in fashion designers and manufacturers,” says Vasudev.

While it hasn’t reached mainstream consumption, consciousness is growing among a certain audience, as awareness continues to increase. Niche retailers like Paper Boat Collective in Goa, Toile in Mumbai and pan-India brands like Good Earth Sustain and Nicobar make attempts in individual ways to be mindful— in choice of products, materials and packaging. The Auroville market in Pondicherry supports a sustainable ethic—supply and demand work in tandem with mindfully crafted goods versus mass-produced ones.

And so, we may hope that more people begin to lean towards what Vazirani strives for: “An awakening and appreciation of the wealth we have in our country in terms of our artisans and the beautiful textiles that they are capable of weaving without any luxury facilities or formal education. An understanding of who we are, when we say Indian fashion, and establishing our own independent sense of style. It is feeling of pride in wearing the Khadi shirt, or the handwoven Indigo-dyed dress, or the Dabu hand-printed saree instead of a Western high-street outfit. Nowhere in the world can we get access to the luxury of genuine handmade as we still do in India.”

We can also work toward a socially conscious and sustainable fashion ethic so that Indian fashion undergoes a shift towards what Vazirani calls a “fashion consciousness—where what you wear makes a commitment to a higher ideal beyond its hanger value or glamour.”

Link to PDF of the story. The Warp and the Weft – Taj Magazine 2019

Is Sustainable Fashion Affordable?

08 Thursday Nov 2018

Posted by sitanshi talati-parikh in Fashion & Style, Publication: The Voice of Fashion, Sustainability

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Aneeth Arora - Pero, Ekta Rajani, Fashion, Gautam Vazirani, Global Fashion Exchange, Sustainability, Sustainable Fashion

Published: The Voice of Fashion, November 8, 2018

Breaking through the misconceptions and myths about the cost of a sustainable garment, what are the practical considerations for a greener wardrobe?

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Between the tempting bait of fast fashion price tags and the cost burden of a sustainable garment, a shopper is less likely to make the environmentally-friendly choice. Add to that, are things like accessibility and post-purchase care of a sustainable garment. “Wearing it would in itself be a chore and something that needs planning. It’s not quick and easy,” says marketing professional Shaista Vaishnav. Inspired by a talk by strategist and curator, sustainable fashion at IMG Reliance/Lakmè Fashion Week, Gautam Vazirani, Vaishnav has been trying to turn her wardrobe green.

A sustainable garment would necessarily cost more than a fast-fashion garment because it nurtures the supply chain—from using eco-sensitive materials to non-chemical dyes, from handcrafted elements to providing artisans with fair wages. Even storing waste fabric to be reused later adds to the cost of the garment. The only way fast-fashion companies can sell clothes at the rock-bottom rates they do is by cutting corners elsewhere. Mass-produced garments with cheap synthetic fabrics and harsh chemical dyes are placing an irreversible burden on the planet, and the lack of fair wages and decent working conditions for garment workers has become a chronic concern in manufacturing countries like India, China, Cambodia and Bangladesh.

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A Sustainable Philosophy
Perhaps because of these vast considerations, Deepshikha Khanna, head of apparel at Good Earth Sustain, is of the belief that choosing ‘sustainable’ is more about buying into the philosophy than it is about buying a product. When you understand why it costs so much—the time and effort that went into making that garment—then you are aware of its post-purchase care. Adds Khanna, “People commonly believed that sustainable fashion isn’t stylish, it is rustic. This has changed. Some of the softest sustainable fabrics like Khadi muslin are setting trends all over the globe today.”

Philosophy it may be, but Vazirani takes it a step further, suggesting that sustainable fashion—especially that which is made in India—is not merely fashion, it is akin to a work of art. He says, “If someone who is buying a hand-spun, hand-woven or hand-dyed/printed outfit were to understand the level of work that goes into making it by the artisans and their families, they would never be able to tighten their purse strings. It will also be difficult to discard the pieces or have the constant desire to keep buying new. You start looking at your wardrobe as a custodian of culture, heritage and sheer dexterity of human skills. You will accept the price, as it is not just an expensive tag or brand that you are paying for, but respect for someone’s labour.”

Perhaps for that reason, despite the range of fair-trade, organic garments abroad, Vaishnav finds the choices to be more in India. “I realised that I would rather spend ₹5,000 on a garment and have 12-15 good pieces, than buying five easily-spotted fast-fashion pieces for that price.” And that is what design consultant and stylist, Ekta Rajani suggests: “Excessive consumption can be replaced by considered consumption.”

Worthy Investment
Rajani’s Instagram posts are captioned with details of the number of times a garment has been worn. She says, “I like the term, ‘something old, something new’, where two pieces may be old, but one might be new.” Swapping clothes is also a great way to keep the wardrobe fresh. Mumbai witnessed its first-ever clothes swap on October 6 with 130 items swapped in six hours. Says Dhawal Mane, Global Fashion Exchange Ambassador for India, “Wardrobes are underutilized—swaps encourage extending the useful life of the apparel.”

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Aneeth Arora, founder of slow-fashion brand, péro, feels that offering two garments in one is another way to think about sustainability. The designer says, “With slow or upcycled fashion, the piece itself may appear to be expensive, but by investing in one good piece as opposed to multiple fast-fashion pieces, your overall expense is reduced.” She points out that a reversible jacket may itself be more expensive than a fast-fashion jacket, but the quality with which it is produced as well as the fact that it is reversible allows for longevity and multiple wears or looks.

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Rajani finds ways to think creatively about her wardrobe. “With old products, you need to be a little bit more imaginative. For instance, figuring out how to wear the same trouser in five different ways: with a skirt, shirt, tunic, sneakers or heels. The beauty of the times we live in is that there are no rules. If you like a look, you can figure out—by taking a couple of extra steps—how to achieve it with what you already have in your closet. Even if you buy trendy pieces, buy them of better quality, so they last.”

While the change needs to extend from demand to supply, it must also come from within. Arora finds that people are becoming more conscious about what they are buying and at what price. But, as Vazirani points out, “Sustainable fashion cannot be equated with price, it’s real value is the impact a consumer can have on human lives through their purchase.”

 

Can Fashion Save The Planet?

09 Monday Apr 2018

Posted by sitanshi talati-parikh in Fashion & Style, Publication: Elle, Sustainability

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Anavila, Doodlage, Elle India, Fashion, Gautam Vazirani, Maku, Rajesh Pratap Singh, RiverBlue, Sustainability, Sustainable Fashion, The True Cost

Published: Elle India, April 2018
(Additional images and videos added to this post.)

Designers the world over are making a slow but steady shift towards sustainable fashion, but does the average consumer know what eco-friendly fashion really is? 

 

The sobering 2017 documentary RiverBlue follows international river conservationist Mark Angelo as he brings into focus how some of the world’s key rivers are being destroyed by the mass manufacturing of clothing. Angelo asserts that any major global fashion brand uses approximately 28 trillion gallons of fresh water every year. And that hazardous chemicals like mercury, cadmium and lead from the fabric are polluting rivers that supply drinking water dyes that filter into them. These chemicals do not break down and travel around the world destroying aquatic life and causing damage to humans in the form of cancer and sensory loss.

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As consumers, we tend to chase beauty over benefits: if it looks good, it couldn’t have harmed anything on its way. There are no aubergine-hued pollutants in the rivers, no underage children making those sensational ruffles, and no worker was paid inadequately to sew those pastel sequins on. Are we wrong, ignorant or simply apathetic? Perhaps all of the above. The True Cost, a film on the fashion industry, brings to the forefront the materialism that drives the economy of fashion, and the heavy price that is paid for cost-effective fast fashion. Parallelly, brands are voraciously driving new trends, while discounting the previous season’s styles. How many pairs of jeans is enough, when baggy or cropped is in one month, and skinny or bootleg fit next month’s #goals? “The consumer didn’t wake up one morning, saying, ‘I want to buy five pairs of jeans.’ We were literally introduced to this concept by the fashion industry,” a commentator in RiverBlue says.

It is clear then, that of the many things it is — expressive, cathartic, good for the economy, and great for Instagram — fashion is also dangerous to the planet. Thankfully, and finally, the industry is now paying heed to its potential legacy of environmental destruction. At Lakmé Fashion Week Summer/Resort (LFW S/R) 2018, Rajesh Pratap Singh used Tencel, a soft fabric made by Austrian textile group Lenzing. It is made from the plant cellulose of sustainably harvested trees in a ‘closed-loop’ production sequence that recycles almost 100 per cent of the solvent. Mumbai-based designer Anavila Misra (of Anavila) has made linen, created from fibres of the flax plant, shine in her subtle-hued saris. Guwahati’s Nandini Baruva (of Kirameki) uses sustainable fabric, made from banana and pineapple (pina fabric), and Eri silk (also known as Ahimsa silk) in her designs that are laced with an ethnic touch. Globally, eco-warrior designer Stella McCartney’s Falabella Go backpack, going strong since 2017, is created using recycled polyester fabric made from ocean plastic. VivoBarefoot’s shoes are made using algae biomass — each pair helps recirculate 57 gallons of filtered water back into natural habitats.

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(L) Anavila linen saris; (R) Maku natural indigo and white handwoven jamdani scarf. 

While high-street giants like H&M are exhorting you to ‘Rewear, Reuse, Recycle’, Kriti Tula, founder of upcycling relaxed fashion label Doodlage, is keen on waste-management: “Upcycling is the ethos of our brand. Each garment is created using industrial scrap, defective and end-of-the-line fabrics, which are all part of pre-consumer waste, and often end up in a landfill.”

Seven years ago, LFW began a dialogue on sustainable fashion and now dedicates a day to it each season, which focuses on grass-roots-level artisans and craftsmen, with enthusiastic participation from the country’s established and upcoming designers alike. Last season’s #RestartFashion show saw post-consumer waste-fabric makers team up with brands like Chola and Doodlage, while Craftmark by the All India Artisans And Craftworkers Welfare Association collaborated with designers like Anshu Arora, Hetal Shrivastav and Sonal Chitranshi, to showcase ethical garments that were handwoven without generating any waste.

Yvon Chouinard, founder of the outdoor gear label Patagonia, reminds his customers in The Usual, a New York-based publication with a focus on culture and the outdoors: “Think twice before you buy a product from us. Do you really need it or are you just bored, and want to buy something?” This echoes designer Santanu Das’s philosophy for his sustainable Kolkata-based brand, Maku. “Fashion is an industry, it responds to consumption patterns. You don’t need to go on a buying spree — even if the product is sustainable or organic.” Maku’s calls to action are the organic indigo dye and natural fabrics (that are essential to the brand) — its LFW S/R 2018 collection, In Transit, glorified indigo on khadi — and to limit the products on offer.

Screen Shot 2018-04-09 at 10.22.39 PMImage from Doodlage’s Instagram. Photo by: Tanvi Julka.

While fashion players are galvanising into action, consumers can and should do their part too. Gautam Vazirani, fashion curator, IMG Reliance, stresses on individual responsibility. “We are constantly trying to find the next cheapest sale, and we are not conscious about how much we really need,” he says. “In India, we are blessed with easily accessible sustainable fashion. For instance, a consumer can buy a sari made by a craftsman like Chaman Premji from Bhujodi village in Kutch that is handwoven with organic cotton and naturally dyed. Such fashion keeps the environment safe, and empowers the smallest producers in rural areas.” Today, with the rise of seasonless runways and unisex products and attire, we can make a difference by focusing on learning more about and investing in eco-friendly products and fabrics, and buying fewer but value-driven classics that will endure through time and trends.

Perhaps we should shop for a greener wardrobe because really, it is about making sustainable fashion fashionable. And that begins at home so that our heirlooms aren’t merely Chanel and Dior, but a habitable existence on earth. As Das points out, “Fashion cannot save the planet, you can.”

|  Filling the gaps between words.  |

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