Anita with her personal signature style portrays an organic look for Spring Summer 2011.
Her style is beautifully conveyed through an inspired look of the 1950’s and 1970’s. Coming to the array fabrics it’s the Fair Trade cotton that governs her collection. Largely an amalgamated never seen version of cotton that’s chic, stylish and fluid to the superior feminine extents.
She maximizes the usage of pin-tucks to highlight the real women with an extra added characteristic. Her style of transforming the rigid surfaces into fluid ones is really remarkable. It’s the designer’s tedious effort which she modestly names as “Grass Root”, an ode to the nature’s wonderful creations. Which soon will bring about a change in today’s society. A trend which will be followed as a cult amongst nature lovers. The pastel prints are combined with white panels an amazing chemistry is at display.
The color palette is vivacious with the shades of pink, green and psychedelic floral. Usage of stark red aligned with mustard yellow and mauves signifies her profound knowledge on colors.
There’s an ascending gradation in the floral prints. They are gradually and artistically placed in the yokes, belts and straps. Also seen around is touch of black in its minimal format. The dress silhouettes are gathered at the waistline keeping the bottom area voluminous, a much appreciated look for the Indian women of all age. There’s also an emphasis on the backs depicting the sensuous, sexy persona.
Accessories are very well coordinated with the entire collection-the shiny large bangles, belts with multiple colored strips, horizontal pin-tucked belts seen for the first time.
Reynu Taandon’s collection showcases perfectly the look of the globe trotting fashionista. A feeling of glamour is achieved with the technique of immense perforations on textile silk cut to precision by lasers into circles.
From the calming spa to the adventurous safari, the collection travels through time zones. The safari look with shorts, jackets accessorized with small traveling cases and metallic jewellery in tones of old gold spells laid back comfort essential to the notion of travel. The look of the jiving fashionista comes in long dresses in ivory and fawn in the silhouettes of short dresses, kaftans and hip hugging short numbers.
Taandon does a lot of ornate semi-precious stone embroidery around the neck ‘coz she understand that a traveling woman has no time & space for jewellery. Large hoop earrings worn with tight dresses and teamed with gladiator sandals look interesting.
Printed squares in a colorful mish mash are embroidered over and turned into shifts and slip dresses. From informal to formal, the collection progresses from cool to glitzy.
Dhoti pants in shimmery sequins are teamed with jackets to jazz up the evening look. Shorts & harem pants in coffee creams create a look of easy wearability.
Silver crystal work on the necklines for short dresses and also as a clasp at the waist, create a sophisticated look.
Vivacity, wearability and pizzazz characterize Preeti Chandra’s ethic of fashion. By her reckoning she keeps the consumer in mind which is why each piece in her collection can be worn off the ramp.
The woman as she is defined “loving, moody and protective is represented on the ramp in a sensual and eclectic mix of bold geometry worked on a satiny shimmer. Loose shifts in fawn with vivid embroidery in peach are teamed with wedges of mossy greens. Lavender gowns with gold with gold embroideries and sapphire kurtas going to the shintz worn with silver legging create a sense of resort wear.
Loose trousers worn with white shirts and colorful boleros, capris with asymmetrical tops, baby doll shifts with ruffles in white teamed with flourishes of candy color embroidery mark the collection. Pyjamas worn with kurti styles play suits with splashes of glitter and loads of bling show interesting ways of glamming up these silhouettes. A lot of shifts and play suits come with loosely slung jackets.
Form fitting sun dresses teamed with auburn beach hats create the look of afternoon spent at the beach. The collection however comes replete with formal silhouettes in the form of ivory shifts worked on with silver embroidery teamed with feather accessories and beribboned wedges. Drama is added with loads of gold embroideries and large bauble bead embroideries on kaftan dresses and frock silhouettes.
The Cherry Blossom
Urvashi Kaur presented Shibumi – her Spring/Summer 2011 collection that was inspired from Sabi – originating from Japanese art and creativity that is elegant, simplistic and beautiful. The collection was the designer’s captured frame of precious moments of thoughts and intuitions.
Shimmery and glamorous, the collection was absolutely feminine with oriental influences and hints from the 60’s era. Girlie in approach, the collection stood out for its pleasant use of colors and pleasing fabrics. There were romantic baby doll dresses and tops, playful jumpsuits, relaxed pyjama pants, chic saris, cropped pleat-less trousers, drop crotch pants, scarf neck tops, and hot pants.
Soft muted colors like powder blue, glistening peaches, marshmallow pinks and pearly whites enveloped the bodies in soft shapes. Subtle Swarovski embellishments, gold ‘gota’ borders, and little floral appliqués added the necessary pinch of elegance and charm.
The silhouettes were very relaxed, comfortable and easy to wear. There were re-invented kimonos, wrap tops, tunics and shift dresses, narrow leg pants, overlapping trousers, slender capris and playsuits that reiterated the freshness and exuberance. The collection was perfect for chilled out evening and had a very retro feel in terms of styling and accessories.
The Spirited Nomad
Charu Parashar’s Spring/Summer 2011 collection was a fresh new take on tribal/bohemian chic. Promoting the free nomadic look, the collection saw a sheer outburst of prints and colors in bold forms, highlighting the theme – Primeval Future.
With an extremely dramatic representation of the tribal arts, the models strutted in thematic props like Red Indian headgears, harpoons and bows in hands, huge metal junkies, bohemian scarves, wooden arm bangles and bejeweled scarves. The overwhelming use of contrasting prints, mix and match of patterns, multiple paneling and a total burst of colors gave the garments enough elements to stand out in crowd. The prints were picked from the wilderness of forests including peacock tones and prints, tiger stripes, bush prints, and hints of color blocked tribal palettes, all giving the ensembles an intentional sliced and pieced effect. Fabrics were flowy transparent in cotton viscose, chiffons, georgettes and lots of satins.
The silhouettes were kaftans, a line dresses, short shifts, blouson style dresses; retro flared pants, and cropped boleros. The show scored high in terms of thespian display through hair & make-up. The hair was chic with multiple pleats and crimped streaks hanging lose, and body painted in tribal patterns. Bespoke gladiator flats, canvas & sporty shoes with raw ribbon laces, 70’s style headbands, and loud tribal sound thumping drums completed the thematic show.
The dual characterization of Indian women is at display. Nandita sets a new dialogue for Spring Summer 2011. Born in the city, the modern day woman adapts the urban syndrome and reinterprets her own persona to suit the required niche. She’s a winner for whom winning has become a habit. It’s her attitude which sets her apart from the other counterparts across the world. Her spirits are praiseworthy and with a remarkable courage she welcomes everyday.
The edgy look is a quintessential element not to miss out. As the generations have progressed the new age women dwelling in the concrete jungle have now learn to play the duality of their character. She’s soft and harsh at the same time, she earns her living, she plans her house. She masters her own persona. A minimal portrayal takes care of the aesthetics and edginess simultaneously.
The models had their faces painted with black and white again showing the ambiguous character.
Sophistication is well bred into her character, which gradually gets followed by the silhouettes on the likes of twisted flowy hemlines, the restructured gathered look teamed with reinforced panels. The architecture is now formatted on mediums like jerseys, leather, satins, self printed silks and lycra.
The new lingo is about the experimental see-through tulle amalgamated to fit rightly within slots then belted flowy saree-like dresses. Nandita here makes her signature statement by pulling out the darkest of the shades. There is a mix of hues from the palette of brown, grey and black.
An Exotic exhibit
The Ever Changing
Varun Sardana’s Spring Summer 2011 collection presented by Fiama Di Wills was a total bliss to have witnessed. The designer, known for his excellent construction and surface detailing themed the collection ‘Change’- the factor that could be seen by one and all, in our city, country and even in our mindscapes. His amazement with the constant re-invention of women as a global citizen, despite being wholly Indian, stands for the driving force behind the collection. The show was an ode from the designer’s behalf to the new wave of artists, musicians, designers and writers who are shaping a new cultural identity for the country.
The collection had a queer interplay of transparency with opacity and, fluidity with rigidity. The intentional minimalist and simplistic approach worked well with the designs, making them more wearable and approachable. The conceptual work of placing geometric prints, interlacing sheer panels, knotting fabrics, folding & tying ribbons, worked effectively with the sculpted structures. The pieces were fabricated out of neutral colour palette like beige, ivory, black & white with slight hints of colours.
The whole styling and accessorizing of the garments were driven from the southern part of India, which gave the collection a very exotic feel. Big, bold chunks of gold jewellery strategically placed made for a dramatic impact that the designer is famous for. The use of little white chameli floral strings placed over the heads lent a very queer Indian feel. The short sculpted dresses, one shoulder shifts, tailored shirts and slim trousers, were all draped around the body in a softer yet defining way.
For an outstanding dramatic cultural experience, the designer collaborated with a Malyalam contemporary alternative rock band called ‘Avial’ – one of the most sought after Indian bands today, who have articulated their expressions in their own mother tongue but within a global framework.
Rock the party
Nalandda weaves magic with the use of chintz draped into the most glamorous silhouettes. Sensual, flowy kaftans rule the ramp whereas large flowers in satin in the colour of laburnum come in a short hip hugging number. Longitudinal coloumns of embroidery are used over printed satin dress to give a sophisticated look. Animal print panels contrasted with chintz worn with long necklace make an enticing combination. Nalandda uses the wild animal print to perfection by turning it sometimes into a tight corset dress, bareback dresses, off-shoulder gowns with a skirt in a sequin embroidery sheath.
More magic is spelled-out when paintbrush print chiffons are worked into dresses. Short drop waist mini dress worked on with waterfall embroidery is an eye-catcher. The designer uses the colour black with élan as she turns out kurti dresses with embroidery and play suits with white embroidered panels, sheer dresses come with sequin sheaths and drape one shoulder numbers make an edgy collection. The use of bow on the shoulder spells out the wicked Madonna sexiness. The use of pert red and cascading orange gives the party look to a collection which seems fit for a rocking party girl.
The awards felicitates talent across different categories in the fashion arena
New Delhi, October 26, 2010: As the 16th edition of the glamorous fashion festivity comes to its finale, the Wills Lifestyle India Fashion Week Awards arrive. The event property is the initiative started by the Fashion Design Council of India (FDCI) and the title sponsor Wills Lifestyle. The rewards felicitated talent in the field of fashion on 26th October 2010, 6pm. The award brings together all the fashion talents for an event filled with glitz, glamour and entertainment.
Wills Lifestyle and FDCI took the opportunity to felicitate three photo journalists or their most exceptional shots taken during the fashion week. The winners are accredited members of the media and the accolade is a tribute for the best photographs taken during the fashion fiesta. The portfolio of snaps entered into the competition consist images from the ramp and even venue shot during the Wills Lifestyle Fashion Week. A panel of eminent personalities from the fashion industry judged the submission of photographs. The three winners of the category of best photojournalist award are Raj K Raj from Hindustan Times, Ronjoy Gogoi from Hindustan Times and Vinod Kumar from Vogue.
WLS and FDCI also presented the model awards in two categories: emerging new face and established model. These tenacious ramp scorchers were chosen and tested on various physical and attitudinal attributes by a prominent panel of jury from the fashion fraternity. The accolade for an emerging new face was awarded to Anshika Pratt and established model award was given to Nethra Raghuraman.
The winners of the different categories were awarded an all expenses paid trip to exotic Thailand.
Announcing the winners of the Wills Lifestyle Fashion Week, Sunil Sethi, President, Fashion Design Council of India said, “The award is a salute to our peers to celebrate their talents. Our aim has always been to engage promising talents and new individuals in the field of fashion and give them an opportunity to grow and be recognized. Our most sincere congratulations to all the winners. In keeping with WIFW’s commitment to foster fashion’s brightest emerging stars, we are especially looking forward to working with them in future.”
Atul Chand, Divisional Chief Executive, ITC’s Lifestyle Retailing, said, “We are committed to promoting new talent in the fashion industry. Wills Lifestyle India Fashion Week Awards is a key endeavour in this regard. We are delighted to give these awards to encourage the emerging talents in the fashion industry.”
About Fashion Design Council of India – over a decade in the ‘Business of Fashion’
In the last 11 years FDCI has taken the Indian Fashion industry global and secured national pride for the business of fashion. It has been instrumental in promoting the business of fashion and creating new opportunities for all stakeholders. Over the years FDCI has used various marketing platforms, seminars and workshops to promote fashion. FDCI, a not for profit organization, is the apex industry body in the field of fashion in India. Its primary objective is to provide a cohesive platform for Indian designers and act as the mouthpiece of the industry at all relevant platforms, in a bid to promote Indian fashion – at home and abroad. FDCI is actively involved in promoting the ‘business of fashion’ and working towards corporatisation of fashion labels in India. FDCI is instrumental in facilitating designer-corporate tie-ups, aimed at expanding the fashion market in the country. To mark its 10th anniversary FDCI introduced India’s first couture week in September
Summer resort chic
Priyadarshani Rao starts with a symbolic dance form and proceeds on to a full drama of culture mixed with attitude. In her Spring/Summer 2011 collection, shades of coffee bean in stripes make most wearable and exquisite long dresses. Priyadarshani effortlessly translated the romantic prairie look into a blending of east and west. The Indian drapes are layered with western flourishes. Trapeze dresses worn over leggings with pleated sashes, long shirt dresses and cut like kurtas on the side and the anarkali kurta like dresses show a fanciful melodrama.
Neo silhouettes in dresses are worked out as dropped waist dresses go the maxi skirt way. Drop crotch harem pants, pyjamas teamed with baby doll tops lend a sophisticated appeal. The colours are coco, peach, coffee bean, sunset yellow, ivory and moss green. Peach dress in shiny stripes makes the ultimate fashion moment. The accessories come in the shape of dull silvery chains interlinked with soft pretty flowers.
The footwear spells out the resort look in its flatness, simplicity and yet the fashionista’s edge, which is not miss able. The hair-do is a sophisticated high ponytail which works well with the look. Sundresses fall down like empire line dresses, waterfall tops and pleated dresses create a look of summer resorts.
Nida delves into the issue of National Integration and unity through the creative lens of fashion.
The colours of ivory, peach & grey are turned into shirt dresses, pleated capris and boleros. Nida uses Indian motifs and gold borders to make intricate boleros and vests thrown casually over tiny bra tops.
Large lose tunics are cinched in at the waist. Chic and drappey pant suits, folded dresses with fluff and ruffle come in the shades of ivory to give the feeling of Indian summer. Off shoulder & one shoulder tops are worn with classy rider pants.
The collection is accessorised with Nida’s signature bags in shocking pink and turmeric yellow. The motifs used are iconic to India with the Indian mode of transport ‘The bicycle’ used to communicate the common man’s ethic. Geometrical shapes and stripes meet on satin to make the most fascinating gowns. Saris are draped over leggings with one leg showing on the side spelling out the new ways of draping the sari. Bare shoulder playsuits are adorned with Bollywood’s op-art. Saris with in-laid sequin work are worn with gujrati cholis with tassels creating an Indian appeal. 2-part saris with one part polka dot, one geometric, lend a sophisticated look to the collection.
Mermaid in Funky Town
The show begins with the eighties’ chart buster Funky Town, giving a chilled-out feel to the show. Sequined silver dresses teamed with coffee creams make an elegant statement of fashion. Old gold and green comes with a dripping of beaded embroidery making for a very chic silhouette. Draped long gowns with one silver shoulder, forming the bust, the other in lavender green silk make a funky yet sophisticated statement.
Soft silk in muted shades of steel grey, honey, and fawn are twisted and draped to create shirt dresses and gorgeous evening gowns. Sailor collars are rounded-off and fall to the waist create a new look. Baby pink bathed in an eye-catching embroidery of silver and chains interlinked gives the ultimate party look to the collection.
Mermaid embroidery on peachy silk drape and fall, and peach dyed in shades of light and dark draped into Grecian gowns create a look of a globe-trotting fashionista . Gold embroidered shirt dress, sheathed copper and grey sequins create the big moment of the collection. With Ira Dubey as a show stopper, the collection is a treat for the eyes.
Fashion in the times of Disco
White Horse – Siddhartha Tytler’s Spring/Summer 2011 collection was an extension of the late 70’s and early 80’s disco era where the lunacy of Studio 54 met the angelic Bianca Jagger who came riding on a white horse and marked a moment in the history of fashion, music, art and love. The designer seemed to dedicate the collection to the madness and excitement of the disco period.
Lots of body cocooning leggy silhouettes kept the sexiness of the era while the bold and chunky costume jewellery upped the glam quotient of the collection. The jewellery sponsored by St. Erasmus was fashionably experimental yet very wearable. The brand’s designer Peiter Louis Erasmus was inspired by the femininity and elegance of fashion icon Sophia Loren.
There was an appetising array of club/party wear ranging from, Swarovski crystal encrusted jumpsuits and mini dresses, to corseted dresses with cascades, from tie-up jackets with large shoulder pads to embroidered boy shorts, from leggy shifts to dressy halter tops. Lots of glitter and shine was lent with the use of sequin sheathing and metallic interplay. There was a new form of surface treatment that the designer introduced in the collection, known as negative sheeting.
The colours were berry pinks with dashes of ivory and steel grey, infused with silvers and mother-of-pearl and gold. The puffy crinoline skirt at the end was a total eye-candy that looked completely fun and peppy. Disco lights and vivacious 80’s dance music, compelled the viewers to tap some feet and have a spirited party moment.
Akaaro by Gaurav Jai Gupta
Gaurav Jai Gupta presents his dream in a woven meticulous format naming his collection 21 burns for Spring/Summer 2011. A dramatised scenic illusion drawn from a Mexican director’s emotional venture called “21 Grams”. The life-span which is always short-lived drawing in a momentary human attributes – an attribute formulating with the help of yarns into a picturesque pleasant mood. Warp and weft played over and again from umpteen number of angles. It’s a romantic affair between the loom and yarns, using more of the forgotten techniques of weaving on a cliché handloom. A passionate weaver, he dreams his way to paradise. The yarns which are entirely unconventional brings-on the ductility of steel, the subdued gloss of silk and sobriety of cotton. A daunting process of weaving fabric and finally shaping them into transitional silhouettes is Gaurav’s forte.
An array of colours dyed by hands in open vessels celebrates a self-evolving process.
There’s a wind of change which is more disciplined and not destructive at all. The objective is to tame natural resources to obtain organic resultants. Neither the process nor the products exploit the life sustaining elements. A logical approach to revive what has been destroyed by the selfish human vices.
A palette that again is in-sync with the earthy virtues has effects of ice blue, whites, pale green and yellows. The shapes are living entities of surrealism progressed into realism.
Lalwani offsets the show with a flourish of glamour with UB40 numbers, resonating a feeling of romance and lovely summer breeziness, which blends perfectly with the collection. Intricate draping in gown and short wrap dresses characterized the show. One of the designs from the collection, a long silver grey gown with cut away sleeves in silver sequin embroidery trickled glamour. Embroidered silver short dress draped over with a layer of net, jazzed up the already perfect look.
Military green in Grecian one shoulder number made an appearance in liberal dosage, doing justice to the recent favourite military look, which was loved by the fashionistas. By using ruching and draping on the single transparent fabric in the lowers created a beautiful sensual look. Cranberry, military green and washed grey coupled with loads of silver splashed across the designs added to the glamour. Waterfall necklines done on silver sheathed tunics worn over long tight skirts lend a party look.
Nimrita’s show stood out with sophistication with its simplicity because she deliberately did not use accessories, showing the ethic of less-is-more to a T.
New Indian summer
The Label Pashma, known for its remarkable prints and re-inventing textile art, came out with a collection that was truly dynamic in character. It drew a picturesque painting while treating the fabric like an artist’s canvas. Bringing the Indian contemporary art forward, the designer Shilu Kumar of Pashma revised the grandeur of Rajput royalty and presented it with an edgy, modern twist.
The collection was high on boho-glamour that had a rainbow of colours spread across both geometric and floral prints. The pieces looked like a complete riot of prints that had interesting digital art in the form of shade splatter, blow-paint prints, vivid flowers and stripes merging with abstract motifs. One could see hints of oriental inspiration with the mix and match of varied prints that were sometimes clashing, but most often complementing each other.
There were several scarves gracefully and stylishly draped around the bodies giving an elegant feel to the entire collection, and also proved to be the star of the entire show. Iconic motifs such as paisley were interpreted with an art-deco minimalist aesthetic to create a unique outlook in an array of contemporary colours. Vivacious floral prints were represented in a range of neutrals and primary colours to celebrate the optimism of spring.
High on wearability factor, the collection could be sitting pretty in any modern girl’s closet who appreciates something different and rooted. The silhouettes ranged form paper-bag skirts, kaftan dresses, jersey tees, maxi dresses, knit leggings teamed with cashmere, silk and chiffon scarves. The organic nature of the garments flowed in their impeccable cuts and detailed finish like delicate pleats and ruches complemented the design with its elegance.
Tanvi offers a passport to the world of textiles, embroideries and prints through her Spring/Summer 2011 collection. Keeping her outlook as universal she is not biased towards any creed or direction. The surfaces are luxuriously treated with shades and embellishments.
Itinerantly roaming across places, people and objects the designer picks her inspiration which has an amazing mix of cultures, colours and shapes. It’s a personal approach of the designer that brings back silhouettes from all across the world. There’s a harmonious mix of kaftans with short dresses. The necklines are elaborate with a distinctive string-tie feature. The zipper is used in an ornamental form to highlight the necklines.
The panels are joined with marvelous laces in a geometric form. More of angular geometry is on display.
The stoles are a sure thing to coordinate well with the entire look of the collection. The colours again support her eclectic feel of the shades which are more on the lines pinks, blues, oranges and reds. The overlay effects, multicolored laces highlighting empire and waistlines are Tanvi’s signature style.
There’s a bright line-up of stilettos and clogs.
Prama by Pratima Pandey
The Quaint reformation
Indian kitsch took a new avatar when Param by Pratima Pandey came out with her Spring Summer 2011 collection, which was infused with western elements that painted an extremely spiritual and quaint picture. The designer was inspired by Kunal Basu and Aparna Sen’s story “The Japanese Wife”, which is a tribute to relationships mapped out over a landscape distanced from all accepted and recognised notions of love and marriage.
The designer reinterpreted today’s woman of the imposing dimensions & faultless proportions imposed on her, and thus created a collection that harmoniously integrated her unique relationships through varied drapes. It seemed that God was in details for the designer when she incorporated the tiniest most interesting elements that made the collections completely unique and outstanding. There were 60’s bow ribbons & gold chains fused with Indian elements like ghungroo, big red bindi and kitsch flowers that created striking accessories.
Seemingly coming from a Bengali backdrop, the combination of Red and White took a completely new shape when it fell in strategic conceived drapes and sleek new silhouettes. There was lots of experimentation and reformation that was seen in the designs. The colours used were symbolic for simplicity, faith, transparency and purity. There were hints of subtle Indian prints and chikankari that peeked from the white surfaces of the garments. The fabric, which was starched cotton, almost seemed like translucent paper stuck together to form interesting patterns while overlapping each other. The label emphasises on natural fabrics and natural dyeing techniques that are used for promoting and encouraging craftsmanship & sustainability.
Dozakh by Isha and Kartikeya
A Beautiful Mind
Dozakh by Isha and Kartikeya depicts the darker side of the glamour world for Spring/Summer 2011. A very pertinent picture gets portrayed as the gets kick-started with a model coming out of the fabric cocoon, tearing it out with a rebellious approach, breaking it free from the illusions – of the fashion world which are far away from the reality. When reality hits these illusions there’s hardly any substance left. The reality looks ugly to the extent that an average mind surrenders to its trap. The pairing of freedom and responsibility which is indistinguishable. On the same lines the there’s a picturesque depiction of black ivy clinging to the darker silhouettes. That’s how life gets woven across romance that more often than not culminates into a sad ending.
The silhouettes are spun with creative instincts anticipated by the human thoughts, celebrating the momentary and short-lived characteristics.
By and large Victorian motifs and tone in tone appliqué work with gradient French knots are the highlights. There’s an underlined chemistry of pintucks, fabric-ruching and infinitely gathered panels. The necklines are shorter. Palette revolves around blood reds, ivories, softer pinks and darker blues.
Ashii by Ashima Singh’s Spring Summer 2011 collection was an interlude of the feminine and the intense romantic. The garments drew its inspiration from the designer’s favourite region Madhubani drawings – while collecting artworks and artisans with traditional skills infusing them with her extremely modern concepts and designs.
The silhouettes of the collection were pretty feminine coalescing with them were free flowing fabrics that were bias and handkerchief in cuts. The bold stunning motifs picked from the famous Madhubani drawings were strategically placed on the garments that made for a strikingly alluring depiction. The assembly of designs comprised of mostly dresses and gowns, with few summer jackets, that ranged form day wear to evening. Strength was expressed with the bold colour palette with arresting combination of black & white hand drawn checks with bright hand painted madhubani appliqués.
Hints of Tribal Indian were seen in the colour palette, surface treatments and even in accessories that included lots of colourful beads. The silhouettes were rather western-evening juxtaposed with few prominent native ones. The dhoti inspired skirt, the khadi long jackets and tops, and the varied painting inspired panelling, all gave the collection a sumptuous Indian tinge.
The sun worshippers
Designer Manish Gupta’s spring/summer 2011 collection is influenced by the enigmatic sunrays. He has tried to capture the prismatic effect of light and replicate it on the fabric.
Gupta has used the technique of lightening up the garment by ruching, braiding and other surface treatments, which have become his trademark over the years. To show the various facets of the sun he has used colours like oranges, sunset yellows and fire engine reds. Colours like Camel Brown and coffee cream are used with delicate crochet work to create beautifully structured dresses
The surface treatment with disc-like patterns used on some dresses is impressive especially when it is blended with beaded embroidery. Shorten kaftan-like dresses, baby doll dresses, kurta dresses and crochet dresses create the ultimate look of spring/summer.
Interesting hair dos accessorised with long strings of ivory beads on the forehead, lends an edge to the collection. Architectural drapes and spiral binding of thick thread moulded into patterns over the dress creates a classy effect.
Ashish N Soni
Interplay of Yin and Yang
The Chinese philosophy of Yin and Yang forms the centre point of Ashish N Soni’s latest offering. Ashish plays an intriguing chemistry with the two basic colours – black and white for Spring/Summer 2011. Kick-started by an amazing saxophone solo, which then gave way to a foot-tapping music, blended well with the monochromatic magic around.
The collection, sticking only to the Yin and Yang, was all about showcasing the positive side with a shadow of negativity and negative side has a hope of positivity. It’s a celebration of life and time; with the palette particularly kept a hardcore extremist, yet sticking only to the two so-to-say non-colours. The desirable element though was an exotic line of jewellery in reds, whites, and blacks that kept the focus intact. Virtually enacting as a bridge between the distant poles of the conventional colour wheel the accessories not only added a dash of colour to the metaphorically black-and-while tempo but also was rightly placed.
Ashish governs his signature style with fabrics treated in a very superior manner; a qualitative approach entwining fabric arts on the likes of pin-tucks, pleating, layering and exotic appliqué works. An explicit display of a third dimension added to the existing ones. The designer salutes his line with flirtatious silhouettes by incorporating oversized shirts, asymmetrically yoked shirt-dresses, leg-o-mutton sleeve jackets, bubble hem knee length slip dresses, flounced asymmetric hemlines and such likes. The textures and surfaces was also a visual delight that caressed the senses with leaf and floral prints in self and contrast colours.
Sanchita’s abstract adaptive art took shape into her Spring/Summer 2011 collection, where the garments looked like varied sculpted collages put together to create one unique show.
Body suits and bikinis came forth in a striking tribal palette where typography and chunky gold embellishments covered the bodies. Theatrical feathers sprouting above the head, made for interesting headgears. Loungewear style relaxed silhouettes in varied mix of prints made for an interesting whimsical assemblage.
The collection was a fresh take on relaxed glamour with jumpsuits, play-suits with bloomer hip volume, warm-up pants with cuffed track bottoms, essential sarouel pants, structured silk skirts and wrap skirts. The prints were all digital-geometric and Afro-cultural in nature merged with some carved solids hinting towards surrealistic exoticism.
There were some very interesting treated tie-dye leather pants matched with bags that were coordinated with bespoke leather shoes. The headgears and vibrant make-up seemed rather wild-bird inspired that complimented simplistic yet precisely engineered garments. The embellishments were unconventional, both in nature and placement over the garments. There were unique surface treatments that made for some interesting textural formations like a jali top created out of cut-dana beads, chatai texture used for shoes and bags, and some avant-garde three-dimensional embroidery used for accessories and garments.
The colour inspiration for the designer came from earthy delights from the mystical spice markets of eastern cultures, infusing an opulent essence of turmeric, saffron, peppercorn, cayenne, garlic, cardamom, angelic tarragon, mustard, cilantro and poppy with iridescent accents. The fabric mix of the collection constituted of crepes, chiffons, satins, raw cottons, nude coloured jersey, khadi, paper silk and printed tulle.
All in all, the experience was overwhelming with loud tribal drum beats, exotic conceptual garments and customised accessories made out of scrap material, altogether contributing towards the uniqueness and powerful exhibit of the collection.