Day 4 kicked off with a collection consisting of Parsi Gara embroidery by Ashdeen Lilaowala which revealed his expertise through the finely crafted ten garments. While the colour story had strong black, white and red with dashes of silver embroidery. Ashdeen gave a new twist to the Gara motifs of chrysanthemums, flying cranes, butterflies and Chinese scenes (China-Chini) in his collection.
Gaurav Jai Gupta’s collection consisted of twelve garments which was a clever mix of materials with stainless steel and Swarovski fabrics. Beautiful natural fibres of cotton were woven skilfully with silk in soothing sepia and grey tones. The languid Orissa Ikat shirt with stainless steel and hand-woven Chanderi trousers, woven cotton silk jacquard top, tetris waistcoat, Ikat dress with cotton wool cape, high twist silk and hand-woven cotton silk for the engineered dress showed textiles in a new light.
Swati Kalsi proved her mastery over the intricate thread embroidery using the beautiful traditional Sujani technique of Bihar. The earthy tones of blue, grey and ivory formed the key hues with generous accents of orange and yellow. The loose languid shapes of the tunics and dresses, some with asymmetric hemlines and minute embroidery, which covered the complete garments or were at times given a placement touch, proved that Indian craft looks amazing when it is merged with western silhouettes.
Daniel Syiem presented a collection called “Ryindia” which consisted of beautiful textiles of Meghalaya. The use of traditional craft with western shapes added to the international appeal of the garments; while clean cuts and simple styling further highlighted the appeal of the clothes. Draped togas in swirling volumes, cascades for tunics over wide trousers, one shoulder dresses, halters with sexy long slit skirts and wrap blouses were in shades of ivory and beige silks.
Working around the regal splendour of Rajasthan, teamed with the textures of Utter Pradesh, and the architecture of Akbar’s lineage, Gaurang Shah’s collection “Gulbadan” consisted of gorgeous fluid silhouettes floating down the ramp in royal elegance. The only adjectives that can describe the collection are majestic, regal and grand. Floor skimming gowns, myriad layers of fabrics for dresses, smocked mermaid style maxis, peplum blouses for voluminous lehengas, flared pants with finely kalied kurtas and khaki chandelier petaled lehenga and blouse with a swaying crinoline took the audience back in time to the Victorian era. The red net mutli layered petticoats under the creations were meant for sensational evening wear.
Purvi Doshi used her collection “Sanrakshan” to give importance to the preservation of flora and fauna using only white mulmul, rectangle fabrics, and Aari embroidery that was worked into motifs featuring flowers, bugs, insects, plants, animals – all considered endangered species. Asymmetric cut dresses, layered tunics, softly flowing long skirts, draped and styled loose maxis – the silhouettes were totally free flowing with the colourful embroidery being the centre of attraction. Multiple layers of the fabric were a perfect choice for hot summer days when the mercury hits the high points.
Farah and Firdos collection, “An Eye Through Bangles”, consisted of unique embroidery using bangles which added to the innovative silhouettes for the ethnic and Indo-western creations. The evening dress in black with paisley borders, the brocade collared top, the swallow tail embellished dress and the flared halter outfit, had a subdued glitter of brocade, silk and hand work. The white inner had a stylish green silk jacket, while the opulent white and gold ghagra choli was a perfect formal offering.
Payal Singhal‘s collection “Taj” was inspired by Islamic architecture’s intricate designs of filigree, jaali work and floral inlays. We saw short Anarkalis teamed with luxurious salwars, while asymmetric tunic blouses were an innovative match for traditional saris, silk Sufi Falda pants with appealing structured cholis while the soft sensuous saris wafted in with free flowing kurtas, and sarees in kiwi lime, sunset yellow and cream color.. Embellishments had to be at centre stage for this collection as resham, silver and gold taar, pita kora, filigree, jaali and trellis patterns dazzled on the outfits.
Inspired by the Madhubani paintings of Bihar, Agnimitra Paul’s collection “Mystic Madhubani” showcased traditional saris, capes, wraps, jackets, lean pants, elegant gowns, swirling flared long skirts, trendy dresses, jumpsuits and kurtas came together in a colourful melangé of garments. She used clever texturing with machine embroidery and Madhubani paintings which were strategically placed on the garments to create a striking vision of beauty and elegance. A silk hoodie added to a gown, lacy draped sleeve kimono, belted jacket with a wrap slim skirt or a skirt with a long coat might turn out to be the upcoming trends to watch out for.
Swades Foundation presented the Vikram Phadnis show which shocased wonderful work done by the village communities in Raigad and Ratnagiri. Along with the Indian fabrics in vibrant colours, that revealed the beauty of the region, we saw beautiful saris, kurtas, lehengas, flowing cowl salwars, gorgeous dupattas, kurtas, and waistcoats carrying dainty bags and clutches and jewellery. Vikram played with hot hues like red, maroon, orange and mustard besides neutrals like beige, cream and antique gold. Flowing long Anarkalis, tiny sexy cholis for saris, and swirling lehengas created magic on the catwalk. Vikram Phadnis ended Day 4 on a truly high note with a superb collection, a celebrity line up of stars, and celebs and personalities from Raigad that told the glorious story of India’s great craftsmen and tradition.
I would like to inform you that all the pictures used in this post are from Lakmé Fashion Week’s official website and the picture editing is done by Livemodish.
– XOXO Kreena