Rimzim Dadu once again proved that her creativity is able to push the envelope of design and come up with something new every season. This time it was cutwork of a very high level for fabrics like stiff wool and sheer chiffon in shades of brown and orange. There were several twists and weaves with braids to achieve a collection that was quite unconventional. Starting with a cutwork one shoulder mini, the designer moved to a trapeze quilted version and then onto an acid green draped chiffon dress. There was a lot of linear pleating for sleeveless shifts, and strappy dresses. Smocks had innovative cutwork while some of the sack dresses had a discreet round of side pleating.

The jade checked knitted cutaway shoulder entry and the 3D cutwork outfit were both garments that are for wearers who believe in the unusual in their wardrobe. The dramatic orange cocoon textured dress was very interesting; while the solitary beige sari with an embroidered border worn with a shirt collar choli was an unconventional combination but so very Rimzim in character.

Each garment had striking detailing whether it was pleating, cutwork or quilting, making for apparel that would surely get more than a first look. Rimzim Dadu, for her label My Village, has combined craft with innovative western touches to present a line of dresses and a few tops.

Rahul Reddy could be the new star on the fashion horizon. After all he is a graduate of NIFT and had a stint at the London College of Printing before joining ace designer Rajesh Pratap Singh as an assistant. So it was little wonder that this young designer dared to push some limits with his combination of knit and woven collection which was in four dual tones.

Using the uniform as the inspiration Rahul visualized the military and school versions for a collection that was vibrant, wearable and technically clever. Considering that teaming knits and woven can be a trying task, Rahul had yet managed to get the construction quite perfect without any sagging or puckering.

The colour duos comprised turquoise/mustard, brown/orange, brown/sea blue and khaki/cream. The cardigans, tees, pullovers had great knit designs that complemented the woven skirts, dresses and blouses. Knit dresses had contrast piping and were in lean or bubble shapes. Some of the piped cutaway garments had good fit and finish, while the patched ones were outlined in pale tones and were moulded to the body. It was a young trendy line which brought in the theme of the designer in focus and will also end up being a good seller for the coming season.

It may sometimes be better for a designer to make an appearance on the stage before the show instead of at the end, just in case the reaction of the audience may not be very encouraging.

That is exactly what Pria Kataaria Puri did by opening the show herself in a dazzling will power gown and seductively gliding down the ramp fluttering a feathered fan to thunderous applause. The collection that followed was vintage Pria Kataaria Puri in every way. There were the trade mark prints – a couple - shown with different background colours. There was the customary glitter; the influence was couture with marked oriental touches so the focal point of most garments was the stylized version of the broad Obe belt.

There was lace on the hemlines, another Pria trademark and there were a few kaftans and gowns thrown in to keep the Middle Eastern buyers delighted. But Pria did not forget the saris to keep the home crowd cheering.

The look was formal in nature and the colours were favourities of Pria – beige, turquoise, black, grey, brown, lots of gold and silver and ivory. There were some eye catchers in the show like the kimono sleeve sea blue mini, the brosso georgette kaftan, the draped sleeve pencil gown, the ruby satin kimono gown,- the only one in a solid colour amongst a profusion of prints, the wide cuffed salwars and the pre-stitched sarong. The saris were dazzling with sequins and crystals and the collection could do well on the bridal circuit. But there was nothing extraordinary or experimental in the line to make Pria stand up for an ovation.

Vikram Phadnis, the Bollywood favourite of the male and female stars, loves to create opulence on the stage, so the collection was just up the street for brides in search of something to add to their trousseau.

But it was not too contemporary. Instead Vikram preferred to return to the past and recreated some period costumes from the Rajasthan and Mughal eras, all heavily laden with zardozi embroidery. Brocade, chiffon, silk, velvet, net, georgette were in rich royal tones of brown, black, rust, red, maroon, gold, silver, jade and frequent strokes of turquoise.

Fabrics were lavishly used for circular swirling skirts, angarkhas, kurtas and even the salwars were voluminous in size. The ruffled black lehengas were the only ones with a tinge of western influence, while the remaining long skirts were purely ethnic in nature. Slit floor length raja coats, severe sherwanis, draped velvet cholis with hipster ghagra, layered kalidar tunics over churidars and skirts, brocade jackets with swirling peplums, rustic bundis with black panelled skirts, smocked lenghas with ornate cholis – the list was quite endless.

The cuts remained a trifle repetitive except for the fabric and embellishment change. Yet the clothes had great stage presence and could look rather gorgeous in a period film. Of course Vikram Phadnis’s loyal admirers from Bollywood would also love to own some of the creations but as a saleable mass market collection the designer may have to get back to the drawing board.

GABA by Aneeth Arora and Chinar Farooqui has worked in different parts of India promoting the states’ craft and fabrics. Having worked with khadi and some of the textiles of Gujrat in the past, the duo this season goes to Andhra Pradesh for the ikat weave and the resist printing and dyeing techniques of Akola in Rajasthan.

The printing achieved by block printing is earthier in colour and the ikat used had patterns on the yarn by first of all tying and dyeing the sections. The telia rumal, ikat lungis and other cloths of Andhra Pradesh were used for the collection. The former was tied around the head as a bandana, while the latter were designed into flowing smocks, dresses, shirt waisters, sacks, shifts, culottes and layered in different lengths to achieve an almost European country side look.

The colour palette was grey, black, off white, brown and indigo for shrugs with pleated peplums, yoked smocks with multi fabric skirts, crushed crinkled pleated skirts, dongri salwar pants, blouses with volume and full circle bias pleated baby doll dresses were some of the silhouettes.

The cottons were soft and fluid allowing multiple layering for many of the ensembles. But even as separates, the garments would work very well. Stripes, abstract designs, floral and bird motifs appeared on fabrics which were mixed with solids to tell a complete story.
The wonderful aspect of this label is the timeless quality of the creations which can be mixed and matched and worn through the years.

The theme of the collection was “Romance is in the Air’ and that is what Paras and Shalini of Geisha Designs created with their dresses and flowing gowns. The highlight of the collection was the intricate appliqué that recreated the beauty of butterflies on the bodice of the dresses and gowns.

The colours were delicately adorable as pastel pink, old rose, pearly white, yellow, peaches, kiwi green, Curacao blue, navy and black created magic for the flowing gowns and cocktail dresses and the bustiers which were either form fitting or gently fluid.

The very short well edited show of select garments gave the audience an idea of the theme as well as the duo’s creativity. From deep navy short dress with rouched petal appliqué, the collection moved to a coffee mini with texturing then onto a crinkled velvet floral single strap asymmetric hemline black dress, and an empire seam floral bee hive creation, a lilac rouched silk net halter gown with embellished neckline and the final sari with a crossed strap blouse in jacquard.

Butterfly motifs appeared on bodices of gowns and dresses and looked very ethereal and delicate in silver sequins and beadwork with touches of tulle. The complete evening wear line was very international in style and appearance with embellishments which did not shout for attention but were used discreetly.
Paras and Shalini have been experimenting with various looks over the years and they seem to have zeroed in on the more formal genre for their creativity.

The season of the Lakme Fashion Week was Fall/Winter 2009 but designers Shyamal and Bhumika presented their first resort line for 2009 which would be ideal for the present summer season unless the duo is selling very well in the southern hemisphere at the end of the year.

It was a story of prints inspired by the Hawaiian beach for glamorous flowing jumpsuits and satin hot pants with dreamy printed satin tops, satin dresses and printed caftans in georgette and crepe. The print evoked visions of the sunny palm beaches when tailored into tunics and sundresses.

The zuoave pants and the satin pegged trousers would be ideal at beach parties while the tiny minis with seductive ruffles for those beach barbecues. The gowns of course could be great resort wear along with the wraps and palazzos.

The colours were vivid and vibrant as soft gold, peach, yellow, green, black, viola, purple and mint green with touches of red fitted into the theme of the line. There was shimmer and shine with sequins, stone and beadwork and hand crafted floral motifs on the satin georgette capes and prints.

The beaded willpower sheath, the off shoulder blouse with tiny shorts, the long sleeve one shoulder poncho, the silver sequined mini and the glittering ruffled hem gown looked great on the catwalk but they didn’t have the touch of unique quality that could set them apart from other cruise and resort lines that are seen on the ramp regularly.