The Lakmé Fashion Week, a leading business event for the fashion industry, is back again with the Spring/Summer 2010 collections. The much awaited event is being held at Grand Hyatt, Mumbai from 18th to 22nd Setember, 2009. We at RVG Newsvision bring you daily coverage of the shows with detailed reviews specially written for us by fashion expert M.Mistry.
Ornate lehengas, shararas, harem and elephant pants, 48 kali kurtas for trousseau wear
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Half sari worn with frilly flouncy petticoats
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Asymmetry for collar, hemlines, plackets, sleeves and even button closures
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Linen, net, velvet, georgette, chiffon, cotton for summer wear with bandhani, leheriya and batik
Day 2
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Using buttons and button holes to create garments and shapes
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The gothic look returns with a unisex slant in strong abstract prints
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Delicate kimono embroidery so fine it resembles prints
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Mixing the fluid with the stiff and the long with short and playing with colours
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Tie-ups and knots used as detailing to accentuate a garment’s silhouette
Shyamal & Bhumika
The designer duo Bhumika and Shyamal Shodhan launched their namesake label in 2003 after which Shyamal went to London to attend a brief training program at the Central St. Martins College of Art & Design. Their designs are replete with techniques like appliqué and hand embroideries.
When a collection has the grandeur and touches of luxury of an era gone by, then it has to be opulent in every sense of the word. And that is exactly how Shyamal and Bhumika’s offering was. Researched from the creations with an Indo-Mughal flavour, there was a distinct military touch in the men’s wear; while the ladies garments were visions of glittering tradition. Lean blouses, long flowing lehengas, voluminous dupattas, tiny gleaming cholis, structured sherwani jackets for men with patkas, comfortable kurtas with cummerbunds and outfits with multiple panels and ornate yokes set the mood for the look. Colours were a rich palette of rose, purple, sea blue, beige, burgundy, chocolate, orange, peach along with deep green, dark brown, dull green, midnight blue and black. Embellishments were a mix of aari, zardozi chikan Kari, gota, marodi and CRYSTALLIZED™ – Swarovski Elements which were used in abundance to add dazzle to the garments; although the designing duo claimed that there was controlled bling in the collection.
Detailing like multiple colour piping, fabric buttons and interesting motifs, added the right touches to the look where zari brocade, silks and georgettes were complemented by velvet, which ended up being one of the basic materials for the lehengas, cholis and even dupattas. Silhouettes were predominantly Indian with well tailored sherwanis having military frogging, dhoti inspired tunics were worn with georgette cuffed churidars and flowing crepe salwars gave men’s wear a regal touch when teamed with zardozi cutwork sherwani with piping detailing.
While the collection was aimed at the trousseau market and came together rather well on the catwalk; it could lose its identity when placed on the racks with other designer labels since there was a touch of déjâ vou about some of the garments.
THE NEW BRAND AND CREATIVE CAMPAIGN FOR SWAROVSKI´S WORLD-RENOWNED CRYSTAL ELEMENTS IS TODAY´S MARK OF AUTHENTICITY, BRILLIANCE AND QUALITY, ADDING DEPTHS OF EMOTION
An Eye to the Future
As part of an entirely fresh and forward-looking global branding strategy, Swarovski, the world’s largest producer of cut crystal, has created a product brand to celebrate its core product, the world-famous, precision cut crystal elements. Every day, in the quiet mountain village of Wattens, Austria, where the company was founded in 1895, these perfect, endlessly versatile crystals are sent around the world to be used by artists, artisans and designers in all creative fields. Now, as an appreciation of the extraordinary qualities of Swarovski crystal gathers momentum around the world, all crystal elements will be sold and marketed to the industry under the new brand of CRYSTALLIZED™ – Swarovski Elements. These innovative and inspirational elements, now sought-after by name, by consumers everywhere, have come to be an essential, integral and creative part of fashion and style today, adding glamour, emotion and light-filled fascination.
Creative Collaborations
Since its earliest days, at the turn of the 20th century, Swarovski has worked hand in hand with designers and couturiers, including Chanel, Schiaparelli and Christian Dior. Crystal fires the imaginations of designers in all corners of fashion and design, and today Swarovski, the partner of the creative world, continues to forge close collaborations with leading designers, as well as supporting up and coming talent around the world. The company enjoys creative partnerships with names ranging from Yves Saint Laurent, Armani, Versace, Gucci and Prada, to cutting edge innovators like Alexander McQueen and Viktor & Rolf.
Vivek Karunakaran graduated from NIFT, Chennai, in 2002. He started out as Creative Head of Isex Fashion and turned out successful collections for American and European labels like Zara, Armani, Facconable, Kenzo and Brooksfield. Subsequently, he headed the creative team for retail brand ‘evoluzione’. In 2006 he launched his own range of men and women’s wear under the label ViiA. His USP remains to be perfection matched with uncomplicated simplicity.
Another collection that was inspired by the styles of the Nawabs but this time the look was pure western summer wear for breezy shirts, Jodhpuri pants, trousers, tunics, capris all aimed at the frequent flying globe trotter. Vivek Karunakaran presented a perfect prêt line that was not only comfortable to wear but easy on the eye and also the pocket. Zuaves in Lurex linen were teamed with off white georgette pin tuck bustier, while a harem dress with smocking was topped with a fitted jacket. A natural linen dress had a zipper as its main detailing at the back and linen Jodhpuri pants were touched with discreet tonal topstitch. A striking strapless cocktail dress with multi coloured ribbon appliqué fitted in well with the look and ombre shading in orange and brown was used not only for pleated dresses but even men’s shirts. Men’s wear was casual and at times even sporty when an orange linen blazer and cropped pants added colour to the masculine wardrobe or a rug print fitted voile shirt with epaulet detailing at sleeve hem could be perfect evening wear. For cool summer evenings Vivek showed a red silk wrap dress with mesh embroidery in multicolour at hem and a fitted silk jacket in teal with pleating and ribbon technique panel at hem worn with zuave pants.
Silhouettes were close to the body as structured shirts and lean blouses teamed with loose at the hip Jodhpuri pants, gave a subtle Indo-west touch. Vivek Karunakaran’s collection was well designed, compact and saleable and did not scream for attention even though the inspiration was of a royal era.
Anand Kabra is a Hyderabadi who launched his label ‘Anand Kabra’ in 1999. He has trained in fashion at the London College of Fashion. His passion for clean faultless lines and immaculate cuts and finishes, give an international appeal to his garments and are his trademark.
Anand Kabra called his collection ‘Kumari’ – inspired by a lady who is a contrast in personality and style. It was a story of duality that the designer wanted to co-exist in his garments. With asymmetry as the basis of his creations, Anand caused an imbalance in his garments where collars, hems, button closures, sleeves and necklines did not form a perfect picture. Yet the end result of the ensembles was one of extreme construction techniques which required a lot of thought and planning to achieve the stunning impact they had on the ramp.
Using the tilakam or tikka and the diya as the prime motifs for the collection he used it in print and embroidered form at times causing a dazzling gold and silver fusion for a single outfit. Striking creations were the opening asymmetric hem shirt with large overlapping sleeve, an uneven collar for a coat dress in beige, an interesting side draped halter dress, a superb red satin draped sari gown and a plunge ‘V’ neck draped dress. Saris had a mix of textures and weaves where Kanjivaram silk and sequined silk tulle in the centre were total opposites.
Slashes of glitter appeared on tunics, yet the colour story was ivory, vermillion and turmeric with nude, pewter, ash and sindoor red. A stray lungi was worn with a royal zardozi lace sherwani while a zardozi paisley embroidered white lehenga and asymmetric tunic still managed to stay true to the contrasts of the theme. There was a certain fashionable method in Anand’s style directions which proved that the designer prefers to think out of the box. So an Anand Kabra outfit is not for the staid and sober, but a woman who wants to scream from the rooftops about her sartorial preferences.
Anita Dongre graduated from the SNDT College in 1983 with a degree in fashion designing and stayed back for two years to teach. Only in 1999 did she arrive actively on the fashion scene with her western wear prêt line. Her label AND is doing great business across the country and even globally.
Anita Dongre launched yet another label titled “Anita Dongre Timeless” this time with a collection that had a poetic name “Jaipur My Jaipur” inspired by the cultural heritage of Rajasthani textiles and embroidery art of that colourful state. Colour was the basis of the creations as bursts of red, royal blue, steel grey and black played a medley with brocades, georgettes, nets, silks, velvets, satins and tissues. The silhouettes reflected the beauty of the region as harem and elephant pants, Jodhpuris, shararas, churidars, ghagras and saris were often drenched in exquisite embroidery with gota, sequins and CRYSTALLIZED™ – Swarovski Elements and zari work. Bandhani and leheriya along with bouties gave that rustic Rajasthani touch to the collection. An Indo-west fusion in styles was only apparent in the three Bandhani dresses worn with stockings and the halter top with Jodhpuri pants and the body suit with a 48 paneled skirt. Otherwise Anita remained true to the ethnic roots of Rajasthan and showed raw silk blouses with batik skirt, brocade choli with leheriya sari with gold border, velvet kurtas with harem pants, a diaphanous full circle Bandhani kurta with silver borders worn with a churidar and a lycra body suit with butterfly sleeves combined with Bandhani embroidered harem pants.
Giving the sari drape a new twist, she decreased it to half its length and draped it around a colourful pleated hem petticoat in bright hues. Here was rustic styling at its most glamorous best, which could go rather well for the festive season with women who long for the colours and styles of Rajasthan in their wardrobe. While Anita Dongre declared that the collection was a line of separates, yet so overpowering was the glitter and glitz of the garments that they could probably make a onetime impression that not many will forget and rather difficult to mix and match repeatedly.
Anuj Sharma attended the Masters program in Apparel Design at the NID Ahmedabad and went on to win the prestigious Charles Wallice India trust scholarship in 2002 to study Masters in High performance Sportswear Design from the University of Derby, UK. He has been on the faculty of his alma mater and also been involved with other social projects related to craft.
His concepts are always so crazy that it is difficult to believe that one can create a whole collection from them. From rivets to eyelets and limited fabrics, he has tried everything and succeeded and when one wondered what can Anuj Sharma now present to astound the buyer, he comes up with something really quirky yet amazing. His collection titled “Button Masala” was an ode to the humble button and button hole and around it was woven a complete collection of some very interesting summer wear.
Using malleable Noel Khadi in tones of black, red and ivory Anuj attached buttons two inches apart on a grid pattern on the fabric and the button holes were on independent straps. This would give the wearer the ability to manipulate the garment by buttoning or unbuttoning it to create different shapes. Using buttons of all colours as well as gold and silver but of a similar size throughout, the silhouettes were very Anuj Sharma as long tubes, asymmetric smocks with cowl back, layered handkerchief hem skirts and dolman sleeve blouse, one shoulder togas, strappy summer dresses were part of a cool line.
He created a look that was feminine yet totally imaginative. Drapes, cowls and bias cuts matched perfectly with the buttons and the button holes and the end result was garments that had style, innovation and immaculate tailoring. Detailing like ruffled necklines, empire line bodice, halters, cape like shapes, relaxed floppy armholes, askew hemlines were carefully designed into the outfits.
Once more Anuj Sharma scored a winning collection that was totally off the beaten path and once more the question asked is, can he surprise us next season again?
Nachiket Barve got his Masters degree from the National Institute of Design, Ahmedabad and went on to win a scholarship awarded by the French government to study at the Ecole Nationale Superieur des Arts Décoratifs [ENSAD] in Paris. He has trained at CELINE, a part of the Louis Vuitton Moet Hennessy Luxury Conglomerate, working with Michael Kors in Paris designing garments and accessories
Picking a theme is easy but one has to translate it into a collection. Nachiket Barve put his creativity to the test calling his line “Toxin” and worked around inspirations like point dart frog, sea anemones, blue ring octopus, lion fish, box jelly fish, neon slugs and coral polyps. But he did not translate them onto his garments in toto. Instead he used their colours and shapes to create a mosaic like appliqué; thread embroidery, 3D folding techniques, layered hues surfaces and then added on resist dyeing, Shibori and bright accents on deep bases.
The hand embroidery was done with silk fabric instead of thread with jet sequins to create the theme. He blended the fluid with the stiff, long with short and played with colours and easy shapes for summer. The palette was multi hued with white, black, carmine red, green, turq, orange, cobalt, navy, brown, silver, purple and metallics. Layered shifts, light coat dresses, tunics, slips, separates in chiffon, georgette, crepe, shot silk, organza; Lurex and tabby followed the theme perfectly.
Each garment was carefully crafted and finished. The extended shoulder dress with appliqué detailing with a blue crepe slip dress, the cascade Shibori silk dress with contrast straps and neckline appliqué, the feminine sheer chiffon coat with contrast sleeve Shibori tabs, the patched organza layered dress with colour blocked silk lining and the organza coat with Lurex appliqué were part of a stunning collection. Nachiket Barve is a very restrained designer who is a perfectionist in whatever he creates and with his “Toxin” collection he proved that western women’s wear is his domain where he is most successful.
A self-trained designer, a professionally trained psychoanalyst, an aesthete with interests in arts and crafts, Nikasha Tawadey made her debut in the Indian fashion industry in 2003 with her eponymous label ‘Nikasha’. She stood out as one of the promising designers, a sentiment echoed internationally with her designs gracing the racks at Selfridges in London and Macy's in San Francisco. Her creations have adorned most Indian celebrities in the film industry.
The collection had a gentle Zen like quality since the Buddha was the basis of its inspiration and the title matched it. “In Full Bloom” was how Nikasha called her soft dreamy line of silk, chiffon, georgette very sheer summer wear in pretty colours like lotus pink, lilac, peach, terracotta, lavender and with splashes of brights like fuchsia and touches of coral.
The silhouettes were free flowing and very comfortable as petal hem pants, wrap kimonos, panelled skirts, layered blouses, wide leg sharara pants and cowl and draped tops floated down the ramp. The fabric mixes were muted and almost tonal with white piping that highlighted the swirling edges of the blouses, skirts and tunics. The most eye-catching part of the collection was the kimono embroidery which Nikasha had researched and then turned into little clouds, cherry blossom trees and blooming peonies. So fine was the end result of the embroidery that from a distant it could be mistaken for a print.
Some of the impressive ensembles were the swing blouse with delicate contrasting godets, peach flowing pants with red side panels and asymmetric closure, chiffon blouse with butterfly layered sleeves worn with red pants, a red sleeveless kimono kurta, a chiffon silk wrap trouser in bronze and a red wrap chiffon skirt with panels. Last season Nikasha went rustic with her “Tara” collection and got rave reviews for it. This time although the collection was beautiful to behold there was that distant thought that hasn’t someone else done something similar earlier?
The lack of formal training in the craft of fashion designing has not come in the way of Anamika Khanna winning sundry awards like the recent Kingfisher Award for the Fashion Designer of the Year and previously the Damania Fashion Award in 1995, besides the Exports Council Award and the Texcellence Award for Outstanding Boutique (Female). Her namesake label, ‘Anamika Khanna’ for India and ‘Ana Mika’ for the international markets, is visible on fashion ramps across London, Paris, Singapore, New York and Los Angeles, besides Mumbai, Delhi and Kolkota.
The colour story was almost rigid – black and white for nearly three fourths of the collection and then for a few entries, Anamika Khanna allowed lashes of aquamarine, coral, fuchsia and red to barge in. It was an easy relaxed very sheer line for summer days when the mercury soars and the gypsy in a woman wants her to wander. But the garments at times appeared too delicate to last longer than one wear. Broad harem pants, sheer under skirts, ganjis and jackets, lots of layering with sheer almost fragile fabrics with a strong cotton base then gradually moved to silk, chiffon, georgette, net, muslin and lace. Detailing started with pin tucks, spaghetti tie-ups at the hemline or sides of skirt, large crude knots at the side of tubes or all over the sari, lace embroidery, silver and gold appliqué, zardozi and smocking. Wrap dresses, trapeze top with transparent underskirt, smocked cape, the favourite half sari teamed with pyjamas and blouse, maxis, bundgalas, shrugs, togas, lungis, angarkhas, kaftan dresses with georgette pants, T shirt dress, and soft long coat dresses worked well in the collection. The gold and silver zardozi embroidery was at times quite overpowering and appeared too heavy for the delicate creations but added the required bling. The eight ensembles with touches of red embroidery included a chiffon cape with smocking detail, draped dress, backless waistcoat and an over sized man’s shirt. The two solitary heavy silver and gold lehengas were shown with a bundle of black knotted saris around the torso.
What one could not fathom in the collection was the swatch card like finale when Anamika sent out ten crushed muslin saris with pants and identical cholis. What a waste of ramp time or had the designer exhausted her creative juices?
