Diljit Dosanjh and Panjaby music that give Bhangra atare makeup

Last month, Indian singer Diljit Dosanjh Met Gala left a strong impression on global fashion.

The 41-year-old singer, who is the only musician Panjabi, who performed at Coachella, walked down the red carpet, dressed as a Maharaja of the early 20th century.

Its luxurious ivory and gold ensemble – created by the designer of the Gurung – complete with the pernamented turban for weeks that take place in India.

He also wore a posh alphabetic necklace, his design, inspired by the picture -the former King of the Northern Indian State Punjab.

Clock Panthère de Cartier, Sword of Lviv and Sword, completed in the ensemble that was the carp of the Dosanjo home state embroidered on the back of the cape, as well as the gum sheets, the script for the Punjabi language.

Of course, dosanjh is not alien in this style.

Just like his music, he also cut a niche in fashion -hip -hip -stake, which is known for leaving the traditional Pougebi styles with Western influences.

Often visible in anti -port trousers, chunky sneakers and necklaces, which it coincides with its colorful turbans, its unique form of expression captured the fantasy of millions, which led to interesting rethinking in the traditional Punjabi clothes.

Changes can be felt everywhere. 16-minute Bhangra competition in California would be impossible without high performance. And in Berlin’s night in Berlin, they get at the top of the crop and deconstructed pants.

Punjabi Music itself, high volume and energy – with texts filled with cities and global luxurious brands – became a subculture.

Not only is Dosanjh – some other Panjabi musicians also influenced the region’s style game.

Not long ago, Panjabi-Canadian singer Jazi would be rings, often the size of cookies, and its plus post-pond and Silver Blonde Winds Tints, were trend.

Most recently, yellow tinted glasses carried by singer Badzha; Honey hoodies conducted by Yo Honey Singh; And Louis Wuetton’s Bombers and AP Dhillon and CHANL watches were very popular with Punjabi youth.

But despite the fact that their influence was significant, it was limited to the region. Dosanjh and several others, like he managed to set it to a global level, and their style acts with both the Sikh diaspora and with a wide audience. For example, t -shirts, pearls and sneakers that dosanjh wore on their world round last year were sold in a few hours. Dhillon -style statements at the Paris Week have created a desire among Panjaby youth.

Cultural experts say it is a rethinking, both in music and in fashion, has its roots in Western pop culture, as most artists live and perform in the West.

“Punjabi men are inventive. The region acts in the forefront of merger, he believes in hybrid. This happens with the Punjabi diaspora – even when they live in ghettoes, they are shows (their lives),” says the art historian, author and curator of the Alka Pande museum.

Over the years, as the diaspora of Panjabi’s diaspora grows, the new generation of musicians began to mix modern hip hop sounds with elements of the traditional Panjabi aesthetics.

Their expressive style of lexicon – gold chains, artificial fur jackets, plus the size of accessories, braids and beard – continued to spawn articles, books and doctoral dissertations on South Asia culture.

The coin instantly dropped home to Punjab, which absorbed the logo like a sponge when luxury brands arrived in 2000. For Pungeabis – which are largely the agricultural community – it was a desire, symbolically how success and well -being should look.

“It symbolized the movement of the Pungeobic identity from the farmer to the global consumer,” says the famous singer Rabin Shergil.

Disposing that the performers, like everyone else, are the product of their time, Shergil says that these impulses are “the response to the hyper capitalist world”.

Interestingly, in the style of the Punjabi -Music game – from hip -hop, R&B, Bhangra Pop, Fusion, Punjabi Rap, Reggae or Music Filmy Music – also remained rooted and andrhin, rather than male.

Pop -star can wear Balensiag or Indian designer Manis Malhotra, luxurious creations; Speak anywhere from the city of Ludhian to London; Dance with Beyonce around Dubai Burj Caliph, on a chic car or in a British mansion – but they always carry the Pungebus identity on the sleeves.

Dosande emphasized this clearly when his Maharaja looks at Met Gala. “It is like the popularity of his androgan style,” Pande says.

The composite influence of this trend on new artists today is in Punjab.

For example, local Bhangra speeches are no longer limited to the traditional “Dhoti-Kurta-Koti” costumes paired with Juttis (ethnic shoes). Now performance clothing includes sneakers, printing T -shirts, deconstructed bottom and even jeans.

“Such items are very much in demand by customers,” says Harinder Singh, owner of the brand 1469.

The Singh store includes accessories popularized by Punjab musical stars, such as Phulkari Turbans versions, which are worn by Dosanjh, Kanda Connents, which were first popularized by artist Bhangg Pam. Singh himself belongs to Turbans in more than 100 shades.

Even in the overall male style, Punjab is some of this cosmopolitan toilet.

Young poet Gurpret Saini, who performs at cultural festivals across India, says he sources of his scales – printed letters Ombre Gurmukhi – from Chariana, his hometown in Punjab, for a distinctive appearance. He recognizes the influence of musical icons, including such as the folk singer Gurdo Mann, which he grew up.

What started as a personal sense of smell in some cases became fashionable applications. Now this choice is cultural signatures. They redo the Pungebi identity with the help of rhythm, hybrision, as well as a rooted sense of themselves.

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