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When I lived in Italy, I saw fashion like I’d never seen before, spent endless summer nights under the Tuscan sun, drank wine to down plates of pasta, travelled through small European towns, walked through ancient ruins and of course, feasted my eyes on all the incredible art.
Wandering the massive, quiet museum halls, standing in front of artworks I’d only seen in books and written about all through college, I was awed by the phenomenon of it all. The very same brushstroke that was made by a legend on a canvas hundreds of years ago, I could discern and understand and appreciate (or not). The thought process, the execution and the way art reflects, and in some cases, predicted the political, social and economic scene of each era, never ceases to amaze me.
When I saw Venus of Urbino (1538), Titian, at the Uffizi Gallery in Florence, I was enthralled. Having written a paper on it the year before, I was stilled when I laid my eyes on the real deal. The details that I had zoomed into, analysed and dissected, all existed before me. Struck by some version of Imposter Syndrome, I thought, “What business did I have to critique or even gaze upon the work of a master?” But there it was, a 16th century painting for the 21st century public - to understand history and the humans that created it. The soft fluidity of the human form set against the strong structural lines of the architecture, her skin glowing in contrast to the deep reds and lush fabrics - the richness of colour and texture is pure Venetian opulence. The composition - delicately balanced, guiding the eye through layers of domesticity and desire. Titian expertly conveyed more than a physical figure, he painted a presence.
When I visited San Luigi dei Francesi in Rome, Caravaggio’s mastery of light and shadow left me speechless. The moment feels cinematic. I loved how ordinary and raw the figures are – it makes the divine feel tangible. Even beyond Italy – Vermeer’s The Milkmaid (1660) in Rijksmuseum, Amsterdam, is small and intimate, but it draws you in completely. I was fascinated by how stillness can speak so much. The light hitting the milk, the calm strength of the woman—it's everyday poetry. I can go on elaborating the various pieces of art I witnessed and the impact it left on me.
What I found interesting through my travels and keenness in art, was that art in Europe isn’t a niche interest. Students, families, serious art enthusiasts, the general public going to museums, discussing the importance of art, is so common there. Coming back to India, I felt for a country celebrated for its rich heritage and cultural depth, this absence of everyday engagement with art was a surprising void. Even though the art scene in India is evolving tremendously beyond the likes of eminent artists like Ravi Varma, Raza, Amrita Shergill, Husain etc. there still is ignorance and oblivion about art amongst people at large. In my personal capacity, as a discoverer of art rather than a connoisseur, I truly want to highlight Indian artists and art - to make it a more generic conversation and invoke an appreciation that doesn’t require someone to be ‘artsy’ to have it.
Aerial Superstructure II (2023), Ritika Merchant 
A Heart Made For Breaking (2025), Varad Bang
At ‘Taarini Anand’ we truly love appreciating art and taking inspiration from it. There’s just so much to take from art - techniques, stories, textures, composition, colours, even the artist! Going back in time, there are so many undiscovered art movements that didn’t even get the time of day then, we want to create conversations that delve deeper into those. From the intricate detail of Mughal miniatures and the opulence of Rajput court paintings, to the lyrical grace of Kalighat pats and the rebellious modernism of the Progressive Artists’ Group, tapping into these eras not only inspires designs but also infuses collections with intellectual and cultural depth. It bridges the past with the present.
We want to revive it through fashion, beyond just printing an artwork onto a garment. A garment inspired by a Mondrian painting, for example, can play with geometric form and primary colours in a way that feels bold yet balanced. Abstract brushstrokes, sculptural silhouettes, surreal prints—these are born from thinking like an artist. It pushes me as a designer to experiment with form, proportion, and fabric in unexpected ways.
We want to create pieces that are unhinged and convey thoughts and mindset flowing freely. It’s not just about dressing bodies, but expressing identity, culture, and emotion through garments that become wearable stories.
