The diverse landscape of the Indian modelling industry

We talk to industry leaders and talent about the gradual inclusion of models from the eastern and north-eastern parts of the country

As global power and trends ebb and flow, citizens are keeping track of the rise of the East and in India, the fashion industry is following suit. 

When it comes to the eastern and north-eastern parts of the country, fragmented news stories–often viewed from a negative lens–have alienated groups from the region from truly being seen. They are often underrepresented and suffer from a lack of opportunities, especially in sectors such as entertainment and the arts.

Inching towards inclusive storytelling

With the rise of homegrown modeling agencies, Gina Narang, founder of A Little Fly (ALF),  has established a space in the Indian fashion landscape for an agency with a fresh perspective on the changing nature of the idea of Indian beauty. 

“An understanding of the vastness of what ‘Indian origin’ means is opening up not just in the country but internationally as well. In the past, many agencies abroad may not have been completely aware of how extensive the qualities found in India alone can be. Today, I do see that [an] awareness and responsiveness to understanding who we are as a total race is opening up,” says Narang, while speaking on the international scope and presence of models from the regions of eastern and north-eastern India. 

Delving further into the impact of representation with regard to casting for brands, Narang adds, “Without sugar-coating it, we still do receive inquiries asking for a “chinky” (a derogatory term used for people with east Asian features) model. We still do sometimes, receive backlash when sending out rosters and clients come back saying, ‘I said I only wanted Indian models’.We have been fortunate enough to be in a position to be able to correct clients in these cases but long story short, we don't entertain such inquiries.” 

Narang is, however, excited about the increasing demand for more inclusive storytelling and campaigns. “Negative factors aside, today, we do see bigger brands wanting to work with talent from the north-east for their campaigns because they see a good model, and not a mere token for representation. What makes us most excited is when traditional Indian wear labels want to work with north-eastern talent because a girl from Nagaland is Indian”.

The changing face of Indian beauty is also intertwined with the rise of social media. The commonplace camera phone seems to have democratised fashion, to an extent. You do not need to be six feet tall to have six million followers today.

The rise of the anti-models

Joan Dominic Rai, also known by his Instagram handle, @thewhitehairedguy is hard to miss when it comes to the growing trend of digital-first fashion campaigns. His bleached blonde buzz cut, decorated tattooed arms and kohl-lined hooded eyes form a dynamic yet dreamy image. Being Sabyasachi and Gucci India’s go-to model may have been a calling for Darjeeling-born Joan, but the road was far from an easy ride. He credits his being noticed for fashion campaigns to his unconventionality. “People from the east have very distinct personalities which stand out. Models are considered blank canvases but it’s very important to have something to offer, something to tell of one's own experiences and stories”. 

It may have been honing in on his unique voice and point of view through social media that helped him achieve opportunities beyond current beauty trends. He adds, “I want to tell my story through narratives and visuals. When I started out, I faced rejection because of the way I look, speak or behave but now I believe I am approached because of who I am and what I have to say”. 

Social media has been a disruptive force in the modelling industry, and technology could be a gateway for aspiring models from the region to amplify their voices. This holds true also for brands who understand the power of representation, the ones which tap into models who are influencers and hold the attention of millions of their target consumers. 

The business of fashion

A photograph can literally break the Internet and create paradigm shifts by whom they choose to lay their gaze on and how. Dubbed “fashion’s biggest night out,” the annual Met Gala, according to Vogue, raises up to eight-figure sums each year, and hence the impact of brands getting noticed on the red carpet is staggering.

Model Quannah Chasinghorse paid tribute to her Native American heritage at the 2022 Met Gala dressed in a creation by Nepal-born designer Prabal Gurung. Her outfit was splashed across front pages of newspapers and magazine covers and appeared on multiple best-dressed lists. This moment was a palpable shift towards brands as well as audiences wanting models to be cultural icons with personalities rather than hangers to showcase clothes. 

Echoing the idea of wearing your identity on your sleeve, Ranchi-born Rahul Munda belongs to an indigenous tribe. “MUNDA of Jharkhand” is etched in his Instagram bio. When asked what sets models from the east and north-east apart from their peers, he comments pointedly that besides the differences in their looks based on the regions they hail from, it is their zeal and determination. “We have to survive and sustain ourselves in bigger cities as opposed to those who live in and around New Delhi, Mumbai or Bengaluru”. He goes on to add, “Aspiring models from small towns have to fight a battle of their own to prove that they’re deserving. Also, I believe they are closer to their roots and culture and emote this during shoots”.

Tanya Maria Lakra is an Adivasi model from the Oraon community with roots in Ranchi, Jharkhand. She believes her heritage provides her with a distinct edge. She has modeled for Gucci and Vogue India and represents the growing transformation in the fashion industry towards diversity, having worked with designers like Payal Khandwala and Amit Aggarwal. Unlike Munda, who was shown the ropes of the fashion industry by being part of a reputed homegrown agency early on, Lakra took a few years to understand the industry. She was driven by impacting change after being bullied for her skin colour which made her fiercely determined to challenge the notion of societal beauty. On representation and the scope of international work, she states, “There is a long way to go unlike the fashion industry in the West,  which is moving faster towards inclusivity and heritage representation”.

The way ahead

The fashion industry has long been called out for being the cultural gatekeeper of who gets to be seen and who stands on the outside, gazing in. Despite its slow pace, South Asia–with its diversity and range of beauty–is where the fashion industry could be a beacon of hope. 

Fenty Beauty was celebrated for representing unconventional models, while on the other hand, Victoria's Secret was forced to undergo a brand overhaul by bringing in more diverse ambassadors like actor Priyanka Chopra and Adut Akech, a South Sudanese-Australian model and refugee. Diversity and representation are changing the business of fashion, and when consumers connect with a brand campaign and its casting, they become its biggest advocates.

Edward Lalrempuia a fashion director who has worked with publications such as Harper’s Bazaar, ELLE and Vogue India considers himself a “fairy godmother” to talent from the north-east who are keen to make a mark in fashion. Speaking on tokenism across campaigns, he remarks, “Fashion editorials are beginning to see the rise of supermodels from the north-east. However, there are still only one or two north-eastern models ever seen together in campaigns”. Lalrempuia points out that since Ketholeno Kense Vihienuo, a Naga model who has graced multiple magazine covers, there has not been a model who has become a household name. “This has a lot to do with perception: Who is an Indian face?”

The consequences of diversity has far-reaching social consequences as well. It bridges an understanding of the different communities and cultures that make up our world. It prevents us from seeing people as different and exotic, but rather adds to the pool of how we view beauty. In a highly polarised world, this can bring communities together.

If national runways and campaigns aren't ready for the east and north-east rising, international runways are increasingly becoming the stomping ground for these models. Nineteen-year-old Kangkan Rabha has walked the ramp for global labels such as Ermenegildo Zegna, Rick Owens and Bode, and this seems to be just the beginning for the Guwahati native. The future does look promising for a new generation of artists who do not feel the need to embrace homogeneity to fit in and succeed. They rely on their roots and unique point of view to break barriers while speaking volumes to the world.

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