Let´s check out Debarun’s Festive Collection 2013 that brings forth recognizable elements from the classic past and merges them with the present while harping on origins which seem vaguely familiar at every moment.
To interpret this inspiration, Debarun has used a colors palette comprising of beige, ivory, red and nude tones. The choice of this palette symbolizes the essence of Ba-Dastoor in terms its classical ethos and ethereal fee. The fabrics are tassar silk, cotton kora, viscouse silk, velvets and matka silk. As for the silhouettes Debarun choose to vary it across classic and neo-classical Indian silhouettes
The collection comprises of sarees, lehengas, layered dresses, churidar suits as these have been and will be reminiscent of any eternal story at every point in time not only today but even after a century.
For the men, Debarun has chosen short jackets teamed with kurtas, band gala’s, long flared coats and sherwani inspired suits to take you back in time and remind you of elements which are eternal.
The collection draws inspiration from motifs which are geometric as well as ornamental. Leveraging on Debarun’s strength at synchronising the structured geometric motifs with the fluency of traditional motifs, the combination highlights the eternal feel of Ba-Dastoor traversing across time from the past and seamlessly merging into the present.
A wide variety of techniques including block prints, over-dying, hand embroidery and applique has been Debarun’s choice for this collection using an aged and matt finish to highlight the influence of the classical while infusing it with the contemporary.
Adarsh Gill, showcased her luxurious collection- ‘EVOLUTION- an ode to the contemporary Indian woman’ at the recently concluded, fourth edition of the India Bridal Fashion week in New Delhi.
She showed many techniques of embroidery through her collection which was also clubbed with the incorporation of different jewel colors. The outfits came across as very wearable for many. However, for us it did not work well.
A lot of embellished silver work in geometrical pattern was done on short dresses, fitted evening gowns and halter blouses which were teamed with black saris. With the use of extensive romantic floral motifs and geometric patterns, complimented by bold and vibrant colors like emerald green, royal blues, fluorescent oranges, purples and reds, she showcased her version of Indian Bridal story on the ramp.
Esha Gupta who appeared in red and gold lehenga concluded the show for Adarsh Gill.
Now that IBFW is over, we can confess that this was the finale for us. Known as ‘India’s master of fabric and fantasy’, Rohit Bal left the onlookers in amazement with his splendid show.
His collection, ‘The Mulmul Masquerade’ on day 4 of India Bridal Fashion Week was a beautiful definition of fusion. Sharing his excitement on IBFW he said, “I have done so many couture shows in the past, but I never showed my bridal collection on the ramp, and it’s an amazing time to showcase bridal collection.”
Not just the collection, even the set was very extravagant with lotus flower pendent lamps of varied sizes which were hanging down the ceiling. Backgroung songs such as ´Khoya Khoya Chand´added to the ambiance. The famous model, Nayanika Chatterjee opened the show wearing a Victorian gown. Victorian look hairstyle donned by the models, frilled high collared blouse teamed with a sari and floor sweeping jackets, reminded everything about the Elizabethan era. With the collection, he intended to take the audience on a journey through centuries of Indian and Elizabethan eras of elegance and opulence. Models sashayed down the ramp in long gowns and with extensive use of muslin in the creation of those Victorian collars, it made everything look so royal.
From simplicity of muslin to extreme grandeur of rich velvets, the collection was signifying at the rich craftsmanship of both these periods. In the men’s collection, there were dhoti pants teamed with jackets, coats over kurtas, long coats with slits in beautiful paisley thread work worn over long skirts and teamed with pyjamis. A lot of kashmiri embroidery work was seen on gowns worn with short velvet jackets by the models in his show. MULMUL collection was all about antique gold kasab kashmiri embroidery on muslin to shibori on fabrics like voiles and chanderi.
The highlight of the evening was when Sonam Kapoor in beautiful muslin and paisley pattern lehenga closed the show for Rohit bal as his show stopper. The show ended with Rohit Bal and Sonam Kapoor dancing to the tunes of a bollywood number.
Designers Ashima and Leena Singh,need little mention of their strengths. Their almost 20 years old rock-solid label has been truly dedicated to the amalgamation of the periodic trends with modern times and has achieved applause from all across.
This time around, the breeze of fresh air was bought in by Rhea Singh, daughter of Leena who made her official debut with the bridal collection, she will be a newest face of this legendary label. With the incorporation of Rhea’s new strategic planning skills, Ashima –Leena focused on Mughal influenced styles and techniques for their collection.
The whole traditional-classical look of the ensembles was further enhanced by side-braids which the models flaunted. The collection showed Dhotis which were teamed with short kurtas and sheer jackets with intricate zardosi work. Another set of the collection was in soft greens, fuschia pinks with fine gota-patti work. Sharara pants, transparent embroidered pyjamis in pietra-dura motif teamed with short anarkali were few highlights of their collection.
Nargis Fakhri in royal red jacket with intricate zari work and shimmery lehenga concluded the show on high for them.
A special whistle since my childhood friend, Heena Bhalla added much charisma by walking the ramp for them 😉
Nargis Fakhri for Ashima Leena
Nargis Fakhri with Ashima Leena
For many who missed Raghavendra Rathore’s creations on the ramp would have rejoiced as he made a comeback after four long years. His work this time around reflected quite a futuristic approach as he showcased future bridal wear highlighting the concept of people traveling across the globe for a wedding.
When it is Raghuvendra, everything has to be royal and classy.This collection also drew its inspiration from traditional silhouettes across Asia.
When a veteran is participating, there is much buzz to see their patent styles.He showcased his trademark jodhpuri bundgala jackets, not only as a part of men’s collection but also was inspired by the same to present the bolero bandgala and sari bandhgala in his women’s collection.
The men’s wear was rather attractive and dapper encompassing velvet coats in the hues of red and green with pocket squares, men suits in all vibrant colours like pink, purple, navy blue, red, turquoise blue, and not to forget the silk blue suit with bandhgala with a complementing hot pink pocket square. Sigh! Thank God, we saw minimum of the mundane shades of grey, black and brown .
The women’s range showed a plentiful of eye-catching details whether in frilled gowns, long robe like embroidered jackets or shrugs in velvet.
At closure, Anil Kapoor took everyone by surprise with his sleeveless velvet jacket teamed up with a black kurta.
Not wasting much time let´s just tell you that Meera Muzaffar Ali´s collection was quite impressive and impact-full. The ramp was beautifully adorned with flowers looking like a royal courtyard of Lucknow. The Kotwara collection was truly what a modern bride would want. The show began with a brigade of pretty models sashaying down the ramp in soft shades of whites, nude and beige. Kundan, pearls and large chunky balis added to the look.
Some interesting pieces were chiffon blends with velvet and brocades, embellished with zardozi and chikankari. All together it looked like a playground of textures.
The colour palette that started with nudes and whites grew to brighter hues such as pinks, reds and purples. All that accentuated with use of gota made the show a real treat to the senses and what we loved most was the contemporary and rich use of Lucknow´s chikankari work.