Sunil Gupta standing amongst his works from Arrival series, 2022

Photographer, writer, curator and activist Sunil Gupta has explored issues of racism, sexuality, migration and inequality in his art. Here, LUX explores our favourite bodies of work by Gupta and the call to action that each series projects

Gupta’s series Delhi: Tales of a City is a play on the old and the new. Gupta has explored and photographed historical sites in Delhi, primarily constructed between the years 1638 and 1739. During these years, the city was rebuilt by the Mughal Emperor Shah Jahan. He  imposed his power and influence over the state to control cultural life and the urban economy.

Sunil Gupta, Delhi: Tales of a City: Humayun’s Tomb, 2003/2022

Centuries later, Gupta saw these historical sites, such as the Red Fort and Humayun’s Tomb, and noticed the range of age, religion, caste and sexual orientation of the people visiting these historic sites.

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He realised that, in turn,  people were unknowingly overthrowing the repressive heritage of these monuments and even more he could use them as a decorative backdrop to project their individuality.

Sunil Gupta, Delhi: Tales of a City. Red Fort – 3, 2003/2022

Christopher Street is possibly Gupta’s most important body of work. The idea of this series first came to Gupta when he moved to New York City in 1976. The aim of these photographs was not only a way for Gupta to focus on his passion for the freedom of expression but also to shed light on the momentous event in the LGBTQ+ community, known as The Stonewall Riots. This was a series of spontaneous protests by members of the LGBTQ+ community against a police raid that occurred on 28th June 1969 at the Stonewall Inn on Christopher Street in Greenwich Village.

Sunil Gupta, Untitled #42, Christopher Street Series 1976/2022

These demonstrations led to a fundamental switch in the gay liberation movement which led to an increase of openness and unparalleled acceptance within and towards the gay community in New York. These photographs display a community that shaped Gupta as a person and concreted his personal ambition to portray people who have been denied a space to be themselves.

Sunil Gupta, Untitled #43, Christopher Street Series 1976/2022

Arrival, is a body of work Gupta created in collaboration with his partner Charan Singh.

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In this series Gupta and Singh use elements of Victorian portraits that were known to project Victorian conventions and norms of behavioural identities.

Sunil Gupta and Charan Singh, Arrival series, 2022

However, Gupta and Singh change the narrative by creating an anti-colonial legacy through compassionate, poetic gestures to convey their sitters’ range of emotions, who are always anticipating when the process of their arrival will become complete.

Sunil Gupta and Charan Singh, Arrival series, 2022

The project also serves as a reminder that homophobia is an anti-humanist cultural affliction, that negatively effects nations beyond the Commonwealth.

‘Sunil Gupta: Cruising’ is on show at Vadehra Art Gallery in New Delhi Until Friday 16th September 2022

Find out more: vadehra.com/exhibitions

Two Point Two AW20 collection

Anvita Sharma

Anvita Sharma founded her Delhi-based fashion label Two Point Two to celebrate individuality through genderless collections that reject all forms of stereotyping and categorisation. Following the launch of the brand’s latest collection at London Fashion Week, Abigail Hodges speaks to the designer about the concept of beauty, self-expression and acceptance

1. Can you tell us about the historical events that inspired your AW20 collection?

Every collection that we have done so far has had a multicultural reference to it. Maybe it’s because I have lived in such different countries as well as among such different nationalities that amalgamation of these different/opposing or similar things comes very naturally to me. As a creative person, I try to challenge myself with every season. To do something that Two Point Two has not done before, may it be in relation to colours, silhouettes or embroideries.

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With this collection we wanted to take a step forward, and mix art and comfort. ‘The Self’ embodies a reconceptualisation of genderless clothing, aspiring to refashion a world that breaks down the boundaries of gender and illuminating the very fluidity of it. It speaks about self-confidence despite flaws and quirks. It is about finding perfection in the imperfections; about embracing one’s uniqueness and weirdness because that is what sets you apart from the rest. It is a synthesis of the masculine and feminine energies of the universe in one body which are depicted in our inspiration of the embroideries – “Ardhanareshwara”, an androgynous form of Lord Shiva and Parvati. We made our artwork using the tantric symbols of these deities mixing it with the Japanese character Enso as well as some genderless faces.

A look from ‘The Self’ collection by Two Point Two, which launched at London Fashion Week 2020. Photo by Gio Staiano

2. How is your brand philosophy reflected in the models that are chosen to showcase the pieces?

We celebrate individuality, confidence and diversity. [Our philosophy] aims to create an “agender” identity, which has characters from maybe both the binaries or maybe neither. It strongly stands against stereotyping and categorisation of anything. Two Point Two believes that beauty exists in every soul and it’s all about accepting and endorsing it as your own. We focus on the individual and not their gender, culture, race or size and support them to express their individuality through clothing even if it’s something unusual. Being ‘Typically Atypical’ is our motto. We chose models who we thought have very strong personalities and character to them. We were very pleased to have all of them in our show as each and every one of them represented Two Point Two’s brand philosophy of inclusivity and individuality to the core. As we did not have any particular category or guidelines as to what type of faces we need, we saw so many interesting people at the casting and instantly fell in love with so many of them that it became difficult to choose.

Two Point Two AW20 collection

3. Do you face any institutional obstructions when working to showcase a genderless collection?

The world has started going in a direction of all-inclusivity. It’s becoming very welcoming and embracing everyone’s individuality day by day. Self-expression is easier now than 10-20 years ago. And it’s only getting better. However, since the norms/criteria or categories still exist, there will always be stereotyping among things. Whether a particular look is too feminine or too masculine. Beauty is connected to a particular idea that the society creates. Sexiness is connected to a particular image or type of looks. Idolising that concept of beauty sometimes feels like an obstacle to who we, you and I are. The constant justification required as to why genderless fashion and people adorning it are also sexy/beautiful is something which we face and have no problem reminding everyone about it multiple times.

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I was very self-conscious about my looks while growing up. Still sometimes, very rarely, I fall in that vicious cycle of idolising the perfect beauty. So, for me, the concept of Two Point Two and the celebration of individuality and self-confidence it stands for, as well as rebelling against giving any sort of justifications for who you are, is the main goal while working on genderless collections. Also, the gender disparity and the problems the LGBTQIA community faces in India is something I strongly stand against and this is a way to support their community as well as any individual who feels that they don’t “belong”.

4. Which are your favourite pieces from this latest collection?

Oh, it’s very difficult to choose. They are so different yet so similar to each other. I poured my heart and soul to each garment and each detail. But if I have to choose I’ll have to say the monochrome olive-green look. It was very unexpected as the decision of changing its combination happened moments before the runway, so I was very pleasantly surprised by it myself. This is what fashion is to me. Fast paced, maddening and yet very satisfying.

Anvita Sharma’s favourite look from ‘The Self’ collection by Two Point Two. Image by Gio Staiano

5. How has your design process evolved over the recent years?

I think there is a massive growth in terms of design aesthetic as well as the process that we follow. With every season, I learn from my mistakes and evolve and grow making sure that those mistakes are not repeated again. We are of course more organised and clear now as compared to our first collection. Although, our brand ethos, philosophy and belief remains as strong as when we started the brand. And, we still work on a ‘go with the flow’ basis and let the inspiration take over when it has to instead of actively looking for one. Like mentioned earlier, my favourite look was very last minute and unexpected, so these things happen very spontaneously and I strongly believe that the energies of the universe guide you and take you where you are meant to go.

6. What’s your five year vision for the brand?

I want Two Point Two to have a global audience and impact in the coming years as the brand is non-demographic and all-inclusive and can be appropriate for any market and any customer in the world. We also like to be working with more handloom and handwoven fabrics which we are already exploring and used in some collections at the moment and planning to get more involved in it. Also, we would like to support the local artisans and their dying crafts from different regions of India, so we are exploring certain tribes and clusters of various parts in India and getting to know their stories, their histories and cultures as well as helping them economically and incorporating their crafts in Two Point Two and give them an international audience in the coming season.

View the collections: twopointtwostudio.com

The streets of Delhi. Picture by Igor Ovsyannykov

In the past, India’s heaving capital has been a fly-in, fly-out destination for most tourists, but with a booming art scene and the recent opening of the Hyatt hotel group’s, coolest counterpart, Andaz, Delhi is fast developing its own allure. Yet, it’s the chaos, culture and complexity, that makes Delhi so fascinating, says our Digital Editor, Millie Walton.

It’s daybreak in Delhi and the streets are singing with car horns as taxis and rickshaws muscle past each other, weaving in and out of stray dogs, pedestrians and the occasional cow. India’s capital is more than overwhelming: it’s explosive. Every year the city, consumes huge mouthfuls of landscape, stretching it’s borders further in order to accommodate it’s 9 million and growing population. It’s a heaving labyrinth of sounds, smells and bodies. It takes a few minutes to be able to focus in the sensual chaos. This isn’t London busy: heads down, too busy to stop, see or speak. This is India busy that centres around interaction and trade. There’s something calming about the vibrancy.

The sunlight cuts shapes through Chandni Chowk’s crammed streets, holding dust in the air and illuminating passersbys. It’s one of Delhi’s oldest and busiest market areas, but fortunately the mundane outweighs tourist curiosity so you can play the invisible observer, without being coerced into buying a trinket, batteries or silk scarves (if you want to purchase cheap merchandise of almost any category this is the place). Huge blocks of golden brown sugar lie stacked at the front of the stall, whilst the man next door makes Jalebi, dropping coils of batter into a copper bowl of spitting oil, and a dog hopefully pushes its nose through the litter on the road. There’s less traffic here and most of the rickshaws are pedalled, but the force of bodies is enough to keep you moving underneath the overhanging tangle of electrical wires and pipes. It’s better not to plan a route, not just because there’s little indication to tell you where to turn, but because you can let your surroundings fill you without limitations. I stop at the call of a chaiwala to buy a small cup of steaming, spicy, sweet Indian tea underneath a blackened building that looks as frail as an empty shell.

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I break out of the market onto a wider main road, slipping in behind a local as he crosses the road. The Jama Masjid is the largest and most imposing mosque in India, standing at an elevation of 10 metres with two tall watchtowers guarding the entrance. For visitors there’s an entrance free but it’s well worth it if only to stand barefoot courtyard, eye to eye with ornate yawning mouth that some 25,000 pass through for worship. Locals seem to stop here too, to rest on the steps and watch life sprawling below.

A cup of hot Masala chai exchanging hands. Picture by Igor Ovsyannykov

In a rickshaw some time later, I sit alongside the dense pocket of traffic jostling towards Connaught Place, the commercial and business district where most of the luxury hotels cluster. My driver holds down his horn as a man on a motorbike pushes ahead, the woman perched sidesaddle on the back throws back a stare that silences. Then we’re there, in a circle of colonial style white columns and designer shops. It’s another city entirely: New Delhi. The huge flag of India lazily ripples in the sky above, while smart Indians strut into designer shops. It’s beautiful, but lacks the visual seduction of the older areas. Here you’re less able to blend into the surroundings, as foreigners are quickly spotted by locals as affluent and therefore, targets for money making schemes.

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The wider parts of New Delhi though are more pleasant and offer an interesting insight into India’s contemporary art scene. DAG Modern is the place to begin, with an impressive collection of modernist works, experimental art forms and paintings by some of the country’s most respected names. The theme of memory and identity that’s gripping the art world globally, reveals itself here with a display of works from 14 diaspora artists interpreted through western and Indian writings. I stand captivated by Satki Burman‘s swirl of moving colours that’s acutely relatable in this vibrant setting.

The Hyatt Regency Hotel, Delhi

Outside the heat has settled and the air is visibly thick with pollution. I retreat to India’s oldest luxury residence, the Hyatt Regency that’s cool and sultry with recent renovations.

The bakery at the back is still where many of the wealthy local families buy their bread and pastries, sending their drivers to make the most of the end of the day 50% discount. I sit downstairs in the cafe for a Indian high tea of chai, samosas and pani puri ( crisp balls filled with potato and spicy tangy water) before soaking in the jacuzzi pool, in the hotel’s gendered spa. As it’s Chinese New Year, dinner is at the hotel’s famed China Kitchen for a feast of crispy duck and dumplings. Oddly, it’s the best Chinese food I’ve ever tasted.

As I wander upstairs to bed, it strikes me that it’s incredibly still within the hotel walls, and I wonder, perhaps whether that’s the ultimate luxury in a city that’s endlessly restless.