The series mines a seam of precious material hidden between the pages of the magazine Le Petit Echo de la Mode. Published in Paris between 1897 and 1983. It was a popular domestic fashion and lifestyle magazine. Within it, loose and often discarded, Narielwalla plucks a streak of radical abstraction. The magazine contains tailoring patterns that, for efficiency’s sake, layer the life-sized templates of entire garments onto a single sheet of paper. Each facet of the garment is encoded in an intricate web of lines, dots and numbers, and challenges us to view this sheet not as a means to an end but as an end in itself. Shattering the female form into precise overlapping facets flattened not as views of a subject but as the object itself.

Narielwalla makes the radical potential loose in Le Petit Echo de la Mode real. He cuts delicate sheets of coloured paper with the pride of a mother. The sheet of paper instructs the housewife, and the artist, to make itself. Predating Futurism and prefiguring Cubism these Le Petit Echo de la Mode abstracted the female subject to a degree more radical and precise than the highest aspirations of the 1912 manifetso Du “Cubisme”. Narielwalla discovers once discarded but now groundbreaking artworks that were begging to become real and loved.

The making of the series began in the summer of 2013. Some of the works from the series have been exhibited in different locations in London and at the solo booth at India Art Fair. No.5 won Narielwalla the prestigious Saatchi art Showdown prize – Body Electric. The majority of the works are being held at private collections around the world.