Spot the ‘Rafoo’.

“Rafoo” is a mending technique used to repair small tears in the fabric.

For context, Yeh Meri Family is an Indian web series set in the summer of ’98 in Jaipur. It’s vacation time for Harshu, a preteen middle child, and Shanky—his best friend, philosopher, and guide.

Shanky is wearing a mended shirt. I chose this shirt with its flaws intact because, in the ’90s, we often wore garments with small repairs.

Costume design isn’t just about dressing characters—it tells the story of their lives, their social standing, and their ideologies. Through subtle details, it reflects not only individual beliefs but also the cultural norms of the time.

Independent India followed a ‘self-reliance’ policy for 40 years, during which the government controlled the media. AIR FM Radio, Doordarshan, and DD Metro were the only sources of culture, entertainment, and news. Liberalization in 1991 changed everything. International entertainment channels entered Indian homes, and the Cable TV Act of 1995 triggered an information boom.

I grew up in the ’90s. We didn’t get cable TV until 2001—our parents wanted to “protect us from the perils of Baywatch and MTV.”

What happens when a society is undergoing economic and cultural transition?

India’s adoption of global fashion trends was slow and uneven compared to the rest of the world. Trends in the West trickled down late, and small towns lagged behind metros. Back then, ‘Bombay’ and Delhi were the only true metropolitan cities.

For a ’90s kid, life meant 8 toffees for ₹1. Making and mending clothes was a normal practice—most homes had sewing machines. It was a sustainable way of living in a world without a disposable culture. Tier-2 cities didn’t see a retail boom until 2004–2010.

How do you capture all this in a single frame?
By weaving in details that reflect the spirit of the time.

That’s why the “Rafoo” matters.