Embracing cultural pride
Easternlight Zimik call to recognize our own worth

Mingyashin Shaiza *

Easternlight Zimik call to recognize our own worth :: Pix - TSE

The East textile presentation featuring his unique design and versatile Kashan, also popularly known as Mekhala, was as uncommon as spotting the Hornbill bird in Tangkhul territory. Agreeing to showcase textiles in Ringui Village for their Luira phanit (seed sowing festival) Cultural Night left me astounded.

Later, during our conversation, he mentioned planning his own show, perhaps explaining his refusal of other requests. But why Ringui Cultural Night ? Well, the organizers were efficient and held his profession in high regard.

In February, he received a reminder and so he began searching for models with the help of the Ringui Luira Cultural Night organizers. “Upon learning about his show, I adjusted my schedule and ensured I would attend. It was worthwhile canceling all prior plans. The Cultural night was on March 2.

We departed from Ukhrul at 9.30 am, arriving at Ringui Village nearly three hours later, though it felt like only half an hour due to enjoyable company. I journeyed with four models: two sophisticated ladies and two well-groomed graceful students. While all possessed humor, it was the café owner who drove us that stood out with his hilarious demeanor. He sang, cracked jokes and displayed brilliance simultaneously. Thus, we arrived at Ringui Village.”

A key aspect non-Tangkhul individuals should understand about Luira Phanit is its significance as the most important festival of the year for indigenous tribal people. This seed sowing festival is either organized by or held under the auspices of the Chief/Headman and the Hanga (the Headman's Ministers). “Upon arrival in the village, our first stop was the Chief's residence. There, we were treated to a festive lunch comprising pork, snail, salad, chutney, boiled vegetables, and kangshoi.

“Following the sumptuous meal, we proceeded to a studio where artists could practice in one room while models prepare in another. Despite being cramped together in a hall-like room, the 18 models understood the constraints of village settings and adjusted accordingly. Makeup application commenced immediately upon our arrival, with three makeup artists collaborating while others lent a helping hand whenever possible.”

East, the creator and proprietor of this distinct design, remained engaged in discussions about the show with the organizer and host. He multitasked, fully immersed in the moment. It seems that's the nature of a designer's mind. Dressed in an olive green suit paired with a custom black t-shirt featuring his own illustration, known as "Wall of Identity," he meticulously assessed each model's skin tone before providing them with the Kashan, Re-love white shirts, and jackets for layering, all designed and refined by him.

“The elegant models received their assigned outfits and layers after completing their makeup. Before donning the intricately woven Kashan, which I'm sure they wished were theirs – just like I did – they practiced their formations and walks on stage under the guidance of the graceful Phapha Gachui, a former Miss Manipur turned lecturer. Following numerous rounds of practice, they grabbed a bite to eat and prepared for the much-anticipated moment: the Kashan (Mekhala) journey, a textile presentation by Easternlight Zimik.

“Three cars transported us – the designer, models, artists, and host – to the stage. The stage was illuminated, and crowds had gathered, awaiting the arrival of the Chief Guest and Guest of Honor. Phapha Gachui, the host, announced the program order, and artists took the stage to perform.

“Backstage, the models gathered, adorned with carefully woven Kashan inspired by Tangkhul patterns such as Sopkai, Tunsop, Green Forest, the countless stars in the sky, seasonal flowers, and more.

"When we observe closely, we find numerous unique patterns around us," remarked East. Indeed, the patterns were meticulously woven by four Tangkhul women. The weavers eagerly embrace new designs and enjoy creating new patterns, he noted. He later commented that it is their expertise that brings Kashan to life.

“One distinctive feature of East's Kashan collection is the cloth belt attached to it, making it comfortable and versatile. Some skirts even have pockets, showing East's understanding of women's needs. “It's your turn next,” said the organizers.

Soon, the models were lined up for the show, showcasing the stunning and comfortable Kashan in two rounds – one with a white shirt and another with a layered jacket. On stage, the host announced the special presentation everyone had been anticipating. The audience cheered with excitement as MOC, a renowned Tangkhul acoustic artist, performed "I Muilava."

The second round featured Augustine and Chon, a folk-fusion duo from Ukhrul, performing their upcoming song "Ramchili." "Ramchili" is a song rooted in the distinctiveness of the Tangkhul people, reflecting on the natural surroundings, wildlife, traditions, culture, and the fading essence of our heritage, especially as the elders pass away.

The models, this time without mask but with added layers of jackets, walked to the upbeat tune, embodying the cultural significance of the Kashan and its storytelling essence. “This holds cultural significance, and we genuinely endorse and support such showcases at our festival,” expressed a model.

“We've participated in numerous shows in Imphal, none of which have been Tangkhul-centric. There are many designers among the Tangkhul community, and we hope they will organize more events like this to explore and provide exposure to Tangkhul culture,” added another.

“East's commitment to sustainable living is evident through his support of Tangkhul weavers, offering them opportunities and preserving indigenous designs amidst the dominance of fast fashion. Through his styling, inspired by Japanese fashion and unique design crafted in collaboration with Tangkhul women weavers, East brings a fresh perspective to traditional clothing also making it a versatile clothing option while celebrating the beauty and heritage of Tangkhul culture.

“A Message from East to the Community : Let's honor the talents, artistic expressions, and cultural richness within our community. Instead of seeking validation from external sources, let's first cherish the treasures we already possess. Once we acknowledge our inherent value, others will naturally recognize and appreciate our skills, artistry, and cultural heritage. For instance, the endeavor I am currently undertaking requires recognition and acceptance from our own community. Without internal acknowledgment, gaining external validation remains challenging.

“In a recent interview with The Voice of Fashion, renowned for its insightful discussions on Indian fashion, the importance of our community embracing Kashan as a fashion statement was emphasized. Failure to do so may delay its recognition in mainstream fashion circles. However, once embraced locally, acceptance by the broader audience becomes more attainable.

“This is precisely why I chose to do this show. I firmly believe in the immense potential of our cultural expressions, yet until they are embraced, their realization remains uncertain. Thus, I am committed to fostering this recognition and appreciation within our community.

COLLECTION NOTES from Easternlight Zimik : The #Kashan (Mekhala) Journey Collection is a continuation of my debut collection SHIM. This journey is about exploring and showcasing our weavers' skill on a bigger platform. At the same time, it is also about incorporating our identity with a bigger culture so that our weavers are introduced to a channel where their skill is appreciated and explored.

This collection is also a tribute to all the weavers, irrespective of communities. For the weavers who are still preserving the timeless art of weaving and advocating our identity in the midst of all dilution. We showcased the collection at North East Festival at the heart of India, New Delhi (23/12/23). One key effort that we have taken on this collection is the attachments of pockets in the Mekhala.

This is to study the functionality, comfortability and the role play of pockets in the gender Specific garments.