Ducit Dosangjeji and Punjabi musicians give Hangra ATARE a transformation

Indian singer Delgit Dosangah left the first appearance last month a permanent impression of international fashion.

The 41 -year -old singer, the only musician in Punjabiya who performs in Kochilla, walked on the red carpet wearing the skyga clothes in the early twentieth century.

His ivory and golden collection – created by designer Brabal Gorong – with a tranas with a feather feather, is heading in India for weeks.

It also wore a wonderful diamond necklace, its design is inspired by the Cartier piece wearing a former king of the Northern Indian Punjab.

The Panthère de Cartier watch and a sword headed by the lion and the sword inlaid with the jewels, which had a map of the mother country of Dosanjh embroidered on the back of the head with messages from Gurmukhi, the text of the Punjabi language.

Of course, Dosanjh is not strange to this method.

Just like his music, he also carved a place in fashion – hip -hop singer who is famous for the plowing of traditional Punjabi styles with Western influences.

It often appears in anti -fitting pants, chunky sneakers, and tools of necklaces with which he matches with its colored turbans, and its unique form of self -expression has acquired the imagination of millions, which led to an interesting re -invention in traditional Punjabi clothes.

Changes can be feeling everywhere. The 16 -minute high -density BhanGra competition in California will be impossible without high -performance sneakers. The bottom floor bhangra nights in Berlin enjoy the peaks of the crops and pants that dismantle them.

Punjabiya music has become high on size and energy – with words full of world luxury cities and brands – sub -culture.

It is not only Dosanjh – many musicians in Punjabiya have also affected the game style game.

Not so long ago, the episodes of the Canadian Punjabi singer Jazzy B, which often the size of the cookie, along with the excess -size Kanda necklace and silver blond hair dyes, were heading.

Recently, the colored yellow glasses worn by singer Badshah; Hodes is loose worn by Yu Hennie Singh. The watches in Louis Vuitton and Chanel, AP Dhillon, were very popular among the youth of Punjabiya.

But although its effect was great, it was restricted in the area. However, Dosanjh and a few others like him managed to install it to a universal level, and their style speaks to both Sikhs diaspora in addition to a wider audience. For example, the shirts, pearls and sports shoes that Dosanjh wore to his global tour was sold last year within hours. Dhillon’s style data was created at Paris Couture, the ambition among the Punjabiya youth.

Cultural experts say this achievement, whether in music or fashion, has its roots in the culture of Western pop because most artists live and perform in the West.

“The men of Punjabiya are innovative. The region was at the forefront of fusion, and it believes in hybridization. This is especially the case with the Punjabi diaspora – even when they live in Geto, they are the men of shows (from their lives),” says Alca Pandnesse.

Over the years, with the growth of the Punjabi Diaspora community, a new generation of musicians began mixing modern hip -hop sounds with elements of traditional Punjabi aesthetics.

Its distinguished lexicon – from gold chains, Fu Furricts, excessive accessories, braids and beard – continued to spoil media articles, books and doctoral theses in South Asia culture.

The currency immediately retreated home in Punjab, which absorbed the fashion logo like the sponge when luxury brands reached the 2000s. For Punjabiya – who are largely an agricultural society – was an ambitious and symbolic uprising of how success and prosperity appeared.

“He symbolizes the movement of Punjabi’s identity from farms to a global consumer.”

On the pretext that the performance of artists, like anyone else, is the product of their time, Shergill says that these impulses are “in response to the excessive capitalist world.”

It is strange that the game of musicians in Punjabiya – from hip -hop, R&b, Bob Bob, fusion, Punjabi rap, irrigation or cinematic music – remained rooted and subjective, instead of being excessive male.

Pop star can wear the Indian or Indian designer Manish Malhotra luxury creations; Perform anywhere from the city of Ludiana to London; I dance with Beyonce around the Burj Khalifa in Dubai, or over a luxury car, or in a British palace – but they always wear their wealth of Punjabi on their arms.

Dosanjh clearly confirmed this with his view of the Metra on the Met party. “It seems like the popularity of his male style that was waiting for it,” Pandness says.

The effect of this trend on emerging artists cannot be applicable today in Punjab.

For example, the local BhanGra shows are no longer limited to the traditional fashion collections “DHOTI-Kurta-Koti” associated with juttis (ethnic shoes). Performing clothes now include sneakers, typographical shirts, dismantling and even jeans.

“These elements are very required by customers,” says Harring Singh, brand owner 1469.

The goods in Singh stores include common accessories by Punjab music stars, such as versions of the phulkari turbans worn by Dosanjh, Kanda tables that were first popular by veteran artist Bhanghra Pammi Bai. Singh himself owns the turbans in more than 100 shade.

Even men’s style in Punjab in general carries some of this global haven.

The young poet Gorbrete Cenie, who performs in cultural festivals throughout India, says that his shadows – printed with Ombberry Gourmokh messages – from Haryana, his hometown in Punjab, to give a distinctive look. It recognizes the influence of music icons, including those who love the popular singer Gurdas Mann, who grew up watching.

What started like personal taste in some cases, continued to become fashion data. Now these options are cultural signatures. They reformulated the identity of Punjabiya through rhythm, hybridization, as well as the radical sensation.

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