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The Urdu word "umeed" means expectations with trust and respect, aspirations cherished with confidence 

project launch:
telling fashion stories


My design DNA is rooted in the clash of cultures referencing traditional Indian silhouettes and techniques and combining them with Western clothing archetypes inspired by my immigrant experience and intersectional identities. I explore this through corsetry/suiting techniques and fashions often used in an array of Indian garments.


The aspect of Surrealism I relate to most is the feeling of lost subconscious emotion, isolated experiences and how so much can be articulated through symbolism, I wanted to express the mental turmoil that is experienced with negative body image, Salvador Dali’s ‘The Anthropomorphic Cabernet’ inspired my exploration of fat deposits as ‘drawers’ of intersectional identities exaggerated through corsetry. Frida Kahlo expressed her pain in such a raw yet beautiful way which reminds me of the self-harm I inflicted on myself during a dark time in my life, I soothed the empty feelings with binge eating that resulted in weight issues leading me to become disgusted with my body, the uncomfortable feeling of binding my stomach with medical fabric tape every day for school soon became comfortable giving me control over my vanity.


The body that I wanted to hide I’m slowly beginning to accept and appreciate, this collection celebrates lumps, bumps and curves that have been forbidden for so long using a juxtaposition of ultimate beauty standards and real bodies. The use of sharp lines in geometric form symbolises dress-making mannequins and societal expectations while the organic flow of draping references the escape from expectation and rebel against societal structure through a surrealist, playful, painful, queer and immigrant lens. 


The Fall (2006) Costumes designed by Eiko Ishioka
Eiko’s anatomical armor for The Cell.
Still from, "The Fall" - 2006
Fashion Templates
1770s Corset
A portrait of Farhad Khan, an African courtier, India, Deccan, Golconda, circa 1680
Female Tree Deity with Attendant c. 973  Northwestern India, Rajasthan, Sikar, Harshagiri, 10th cent
After the Bath. Bundi School, about 1775. (15 x 22 cm) Allahabad Museum.
Sabyasachi. Udaipur Collection. 2017
1880s Corset
Franz Xavier Winterhalter. Princess Gouramma. 1805-1873 Duitsland
Ruth St. Denis, 1904
1930s Fashion
1940s Fashion
Maharani of Patiala, 1920
1800s Era Corset
Corset 1891 Maison Léoty French
Unknown. Lala Corsets Collection. 1860s
Kumar, Romea. Cruella Partnered Project Trial. 2020
Kumar, Romea. Body Positivity. 2020
Kumar, Romea. Body Positivity. 2020
Kumar, Romea. Body Positivity. 2021
Kumar, Romea. Body Positivity. 2021
Kumar, Romea. Body Positivity. 2022
Kahlo, Frida. The Two Fridas. 1939
Photography Sølve Sundsbø. Image courtesy of Michaela Stark
Schiaparelli, Elsa. Skeleton Dress. 1938.
Dali, Salvador. The Anthropomorphic Cabernet. 1936.
Kumar, Romea. Balenciaga. 2018.
Kumar, Romea. Trial "Off the Body". 2019
Kumar, Romea. Love Handle Corset Bag, Adhoora Collection. 2022

Click images for description and reference 


collaging concept images for initial idea generation
(click for enlarged view)

Favourite sketches

rendered sketches

front , Side and back

Annotated overview

(click to magnify image below)


Material palette 

The fabric choice will range from denim, cotton drill, and georgette. the colour palette will be majority black and deep burgundy, Black is a colour I used regularly in my work as it symbolises a sense of comfort regarding my body image while the burgundy references blood as our inner subconscious and intersectional identities that are not often visually identifiable but hide somewhere within us.