MODA Designer Profile: Esha Deokar

A double major in Art History and Economics and involved in pretty much everything MODA has to offer, you never would’ve guessed Esha Deokar is a fresh face in the UChicago community. After transferring from NYU and entering what Esha refers to as her “first and a half year” of college, she made the brave decision to join the talented group of designers for MODA’s 2021 Fashion Show.

I spoke to Esha, never having done design work before, about what it’s like to take on a project of this magnitude during COVID, the ways in which she plans to merge her Indian and American culture in her designs, and how overcoming her fear of the sewing machine was possibly her accomplishment this year.

What sparked your interest in fashion?

I think a lot of it comes from studying art history. I’m good at reading about [art] and analyzing it, but when I physically try to paint or draw I almost over-analyze it. Fashion is a side of the art world that I’ve never formally experimented with before. It was just something I did, it wasn’t something I ever thought about. This is a way for me to “practice art.” 

Is fashion your way of relieving yourself of the pressures that you might put on yourself when painting or drawing?

Completely. I over-intellectualize the process of painting or sculpture drawing in a way that I don’t when it comes to sketching designs. Since I’ve started reading about fashion, I’ve been able to walk the line.

For this collection in particular, what are some sources of inspiration? How does it differ, if at all, from any personal projects you may have worked on before?

[Laughs] I mean honestly, sewing is hard. It’s really difficult. I’ve done a lot of sketches before, but with more time, I think I’d be able to come up with something a little more. And I mean obviously with COVID and everything it’s been really hard to learn how to sew over Zoom and learn the really complex techniques that require someone to be right next to you rather than look at a pixelated camera. I think that right now, I’m still trying to figure out the boundaries of being Indian American. For one of my pieces, I’m using the very typical bandana fabrics, but then I’m also using a fabric that reminds me of the Indian blankets or comforters that my grandma makes. I’m trying to figure out how I can use those two together. The patterns don’t really go together, but I think [fashion] is supposed to symbolize something bigger. The patterns are allowed to clash.

Deokar’s Mood Board 1 - where Jean-Honoré Fragonard’s “The Swing” meets Bollywood dance scene

A bit unrelated to what we’ve been talking about, do you see designing as a completely independent process or do you consult someone—friends, fellow MODA members, etc.—in your designs?

I would say, due to the virtual nature of things, it’s become more of a collaborative process than I thought it would be. I’m more comfortable reaching out to ask for advice on where to get fabrics, how to pick patterns, things like that. It sounds dumb, but learning how to use the sewing machine has been really rewarding. I’ve been wanting to sew for so long. I like sketching things and coming up with different materials to play with, but those were always just visions in my head, so being able to use the sewing machine to bring them to life is the best feeling. One of my really good friends here, she’s been sewing for...ever and she’s amazing at everything she tries so I always go to her for help. I mean I sent her a video of the top I just made today. I’ve learned that asking people who do know about this stuff and have a grasp of it is one of the most important things in designing. 

Deokar’s Mood Board 2

How do you think this being a virtual show has changed your plans for designing a collection, in terms of how people will see it online versus in person? Do you feel more or less pressured?

I definitely feel the same amount of pressure [as I would if the show were in person]. I want my designs to look good no matter if people are looking at it through the camera lens or their own two eyes. I was a little disappointed, and had to change some of my designs to better fit the setting. Originally, one of my designs was supposed to have umbrellas and words on the back, another was supposed to include a briefcase with a word on the side. Because it’s online I want to save those ideas for next year, or even the year after, so that people can actually see it and read it. That’s something that I want to be able to see people’s organic response to and that I want them to experience in person, not just a recording. And even though that didn’t pan out, I think it can in the future, which is why I’ve been looking at this year as my stepping stone into design. The fact that it’s virtual doesn’t mean that this has to be my debut. It’s like a practice run. 

So you see yourself getting involved as a designer again for future MODA shows?

I really want to. I was actually at last year’s MODA show because I have a couple of friends in MODA. I flew from New York to watch and I absolutely loved it, it was such a great experience. I remember watching the show as a student from somewhere else and wanting nothing more than to be a part of it. Now, I’m so grateful to have the opportunity to design this year, but I’m looking forward to the future when I can go through the process in person. 

Esha, like many other creatives, has made the most of the challenges brought on by this past year. Besides making the move from one major city to another, Esha has immersed herself in UChicago culture and taken on a number of leadership roles without hesitation. Optimistic about what the future holds for art, fashion, and MODA, there are few things that she can’t do—including sewing.

All images courtesy of Esha Deokar. Header graphic by Vivian Li.