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Tribal Jewellery (Sikka Mala) Inspired Fashion Collection: A Convertible Office-to-Evening Capsule
Subject area: Arts, Social Sciences and Humanities · Area of research: Tribal Jewellery - Sikka Mala
Abstract
Professionals increasingly move from workplace to social settings with no time to change, yet generic “day-to-night” styling rarely draws on cultural heritage. This paper proposes that heritage ornament can itself drive the transition. Using the Sikka Mala, the coin necklace of Indian tribal and folk adornment, it develops a convertible capsule built around a wine velvet waistcoat edged with silver-toned coin discs and chevron embroidery, worn with wide-leg velvet trousers. Two original instruments structure the work: a Three-Layer Translation Model (form, rhythm, sensation) and a Dual-Context Wearability Matrix that tests office restraint, evening expressiveness and transition effort. The outfit serves the workday, casual wear and party wear through styling and a few construction choices. The paper also discusses sustainability and ethical guidance for designing with tribal heritage.
Keywords
convertible fashion, Sikka Mala, tribal jewellery, office-to-evening wear, heritage translation, modular design, sustainable fashion
References
[1] Brown T (2008). Design thinking. Harvard Business Review, 86(6), 84–92.
[2] Chapman J (2005). Emotionally durable design: Objects, experiences and empathy. Earthscan.
[3] Dhamija J (1970). Indian folk arts and crafts. National Book Trust.
[4] Elwin V (1951). The tribal art of Middle India. Oxford University Press.
[5] Entwistle J (2000). The fashioned body: Fashion, dress and modern social theory. Polity Press.
[6] Fletcher K (2014). Sustainable fashion and textiles: Design journeys. 2nd ed. Routledge.
[7] Government of India (1999). The Geographical Indications of Goods (Registration and Protection) Act, 1999.
[8] Gwilt A, Rissanen T (Ed.) (2011). Shaping sustainable fashion: Changing the way we make and use clothes. Earthscan.
[9] UNESCO (2003). Convention for the safeguarding of the intangible cultural heritage. UNESCO.
[10] Untracht O (1997). Traditional jewelry of India. Thames & Hudson.
[11] Young JO (2008). Cultural appropriation and the arts. Blackwell.
How to cite this paper
@article{1724671,
author = {Nikita Pal, Shveta Anugrah},
title = {Tribal Jewellery (Sikka Mala) Inspired Fashion Collection: A Convertible Office-to-Evening Capsule},
journal = {Iconic Research And Engineering Journals},
year = {2026},
volume = {10},
number = {5},
pages = {1970-1976},
issn = {2456-8880},
url = {https://www.irejournals.com/formatedpaper/1724671.pdf},
abstract = {Professionals increasingly move from workplace to social settings with no time to change, yet generic “day-to-night” styling rarely draws on cultural heritage. This paper proposes that heritage ornament can itself drive the transition. Using the Sikka Mala, the coin necklace of Indian tribal and folk adornment, it develops a convertible capsule built around a wine velvet waistcoat edged with silver-toned coin discs and chevron embroidery, worn with wide-leg velvet trousers. Two original instruments structure the work: a Three-Layer Translation Model (form, rhythm, sensation) and a Dual-Context Wearability Matrix that tests office restraint, evening expressiveness and transition effort. The outfit serves the workday, casual wear and party wear through styling and a few construction choices. The paper also discusses sustainability and ethical guidance for designing with tribal heritage.},
keywords = {convertible fashion, Sikka Mala, tribal jewellery, office-to-evening wear, heritage translation, modular design, sustainable fashion},
month = {November},
}