TOP TRENDS OF THE DAY

1. Using sari drapes for gowns and dresses.
2. The roaring 20s and French artists as inspiration along with the rose, seasons, the cyber world and peaceful sanctuaries
3. Creating garments without stitching but using eyelets
4. Square sleeves, wrap dresses, kurta dresses, kimonos, scalloped layered skirts, extended shoulders and hem volume
5. Embellishments like wire work, rivet detailing, water washed fabrics, patchwork, excessive embroideries.
6. Dhoti drapes for skirts, blouses and dresses.
7. Reworking ikat and Warli paintings onto Benares silk weaves in a diffused manner.
8. Sleeve pallavs, slit sari pallavs, sheer long blouses with built in busters.
9. Using georgette ribbons and seamless elastic as detailing, princess seam inserts, cap sleeves, double satin wide leg palazzos, square cut dhoti trousers, disc inserts.
10. Layering of multicoloured pastel georgette for dresses, skirts and blouses, overlapping resort wear trousers,
11. Short or long jackets for men, 2-button single breasted jackets or double breasted blousons.

Moving away from convention, Swapnil Shinde goes to extremes at times. Last season it was Telegony–Cyber Greek Goddesses who inspired him. This time it is the sari drape that appeared in his western wear with a collection called Reality Escape. The look was of the roaring 20s with touchs of the 50s Hollywood glamour. Using fabrics like silk, brocade, chiffon, jute, Lycra in shades of burnt blues, ivory, egg shell, rose red and sand along with jet black as a base Swapnil created long gowns and minis for those formal evenings.

He opened the show with a deep blue gown with black floral appliqués and then sent out an off-white rouched draped gown with the pallav like draped body, then another rouched and draped one shoulder gown, besides princess line dresses with gold tissue bodices, a black /blue draped ruffled mini, and black dresses with cutwork godets. The start and end of the collection were quite impressive but somewhere in the middle Swapnil lost his way when the inspiration didn’t quite come through, especially in the finale red gown with layered fabric loops on the skirt. The beaded tasseled shoes were interesting but a trifle too heavy for the collection.

The idea of incorporating sari drapes was good but Swapnil Shinde needed to develop it perfectly to create a style statement.

The duo of Dev R Nil try to create interesting collections and this time too they had a line that was young fresh and trendy with a theme that came from the cyber world – Pixel Dreams. Working on shapes the pair had extended shoulders, box sleeves and hem volumes; along with pleating as the main technique.

The fabrics were mainly Muga georgette, silk, Lurex and stretch vinyl along with raw silk, organza, stretch satin and georgette. There was hand block and discharge printing to create the subtle pixilated polkas, block hummingbirds and pixel squares.

In addition there was appliqué with touches of Japanese beads. Some of the interesting pieces were the black bird printed pleated dress with gold Lurex yoke and square sleeves, the magenta silk twill panelled dress, with pleated yoke and black georgette full sleeves with rose embroidered hem, a magenta pixel polka print stretch satin one shoulder dress with organza sleeves and Lurex hem, a silver organza square scales textured jacket with Lurex yoke, red muga silk panelled long dress with godet and bubble hem, and a tiered shirt dress with twill yoke and black Lurex shoulder caps.

The designers also had four saris which featured cutwork floral embroidery, satin borders, patent leather appliqué, box pleats or hand embroidered flowers. It was a trendy young collection that Dev R Nil could sell in all the global markets

Vineet Bahl had “An Autumn Affair” with his collection as it was called. It was clothes for the Indian winter – which he described as a light hearted resort line except, that while the garments were beautiful; Vineet should have decided which part of India he planned to sell the creations since the north is bitterly cold! The fabric choice was chiffon, silk and satin, tussar, jacquard with a few handlooms with floral prints and silhouettes that included kurta dresses, kimono tops, jodhpur churidars all ideal for those lazy days in the sun.

But besides the seasonal confusion, the collection was pretty well finished with beautiful embroidery like wire cutwork, filigree cording, rivet detailing, metal edging, a lot of water washed Jacobean prints, some silk thread work and flower/ ribbon detailing.

Some of the interesting pieces were the mint green patchwork print inverted trapeze dress with metal edges, the charcoal grey jacquard tunic worn with silk printed jodhpurs, the water washed patchwork wrap kurta dress with threadwork and the kimono sleeved kaftan. Vineet added three saris to keep the ethnic wearer happy in ash green georgette with filigree cording on blouse, a hazel brown tussar with wire embroidered blouse and an ocean blue georgette with ribbon detailing.

Vineet Bahl need not wait till the end of 2008 to book orders, since it was a comprehensive collection which will sell rather well during the coming months.

The inspiration was the roaring 20s and the French artist and illustrator, Erte for Payal Singhal’s jazzy Flapper line. But the end result was the work of the embroiderers since in many garments not even a millimeter of fabric was visible under the sequins, diamantes, gold, silver, beads, pearls and stones.

The silhouettes were simple – just minis, shifts and baby dolls with a few bubble skirts thrown in. Except for some interesting drapes that criss-crossed the body like dhotis or allowed some seductive leg show there was nothing noteworthy. An unusual silhouette was the dhoti dress with the drape attached in the back and front between the legs like a Maharshtrian sari and a similar skirt.

Colours ranged from black, white, cobalt blue, silver and gold for fabrics that ranged from crepe, georgette, taffeta, jacquard, silk and Lurex.

The embroidery was beautiful completely encrusting the garments except in a few rare cases when it was used to highlight the necks, backs, yokes or bodices. In fact there were more embroidery styles than the silhouettes. There was vintage motif work, an art deco embellishment and zardozi along with hints of feather trims.

With a theme like the Roaring 20s, Payal could have done a lot with her collection but she seemed to have taken the easy way out by allowing the embroiderers to take over and to do all the hard work.

The 20s was a great era of fashion, but sadly Payal Singhal didn’t capitalize on it. No doubt the dresses will be great sellers; but Payal Singhal needs to decide if she wants to be a great retailer or a designer.

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Anand Kabra’s inspirations in the past have always been very unconventional. From the Japanese sun to an orange scarf to one in search of Duende; he looks for something off the beaten track. So this time it was the story of Renato’s Malena the love of an adolescent for his dream woman, Malena the lonely widow symbolized by a rose who men love but women hate.

Obviously the rose formed the focal point of his collection as the motif was textured, embroidered and hand painted on sensuous silks and voluptuous organza in shades of black, white, clay, scarlet, teal and ochre in different sizes and at times more graphic than natural in form.

The silhouettes were long and lean or short and sassy with tiny shrugs, long cover-ups, tulip skirts, sheaths; halter dresses, minis, wrap dresses all accessorized with leather belts and colourful neck scarves. The saris were dazzlers with the rose motif appearing in large or small sizes on a dazzling back ground of sequins with tulle attached to the hemline to give a can-can petticoat effect. Some of the eye-catchers were the red rose long gown with tiny black shrug, the white and red bubble the graphic motif in red and black on white for a dress and a shaded bubble smock with cutaway armholes.

It was a breezy resort wear line though not quite autumn in nature; but the beautiful roses strewn on the garments made an unusual style statement.

Here was a collection that will be instantly identified as created by Anand Kabra because of his signature style stamp on it.

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Sabyasachi Mukherjee’s title was Sanctuary for his collection. The designer said it included inspirations from everything and everybody around the world with touches of the 50s and 70s mixes.

His fabric choice was a great mix of the unusual so there was linen, plastic, snake and crocodile leather, chiffon, course cotton, hard painted satin, distressed leather and a lot of zippers which appeared on the seams of the garments.
The colours were far too many to list as the full spectrum of hues were used for all the garments. The silhouettes were a blend of the east and west with lean textured cotton suits, multi striped horizontal velvet skirts, trousers teamed with printed blouses and waistcoat.

Once again the rose motif came in prints for garments. A mix of textures meant patent leather straps for a black bodice and muted skirt, or a red silk battle jacket, sunflower bolero with blouse and pencil skirt and a few saris with contrast borders and patched cholis. There were slim skirts, Jodhpur trousers, tiny micro minis, dresses with black sequined sleeves and finally a line of shimmering black mini, short sequined pinafore along with a longer version and a black glitzy batwing dress.

But somehow there was something not quite right with the collection. It appeared as if Sabyasachi was trying very hard to milk the concept of ethnic kitsch, which he introduced but it was not making an impact.
While his signature style still remains, it seems to have gone a little askew and Sabyasachi needs to get it on track again. Some of the pieces as separates could work; but the complete garments lacked that Sabyasachi touch. Some fresh thinking is needed since Sabyasachi Mukherjee is one of the most talented designers and stylists in India, who can be the guiding light for his vast design team.

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Last season the audience cheered when Anuj Sharma created a complete collection out of 1.8 metres of black or white satin draped on the body and allowed to fall in sensuous folds.

This time for Autumn/Winter 2008 he took a heavier polyester weave in just three colours brown, grey and cream and pushed the creative envelope further to come up with a collection that was quite amazing.
Once again it was drapes but this time there was no stitching of the seams. Instead the garments were held together by the ingenious placement of gold and silver eyelets. The name of the collection – Eyelet It Be.

Fabrics and eyelets came together to form togas and draped dresses. Capes and hems were inverted to create U shaped front or back necklines. Gathers and pleats were created with the help of the eyelets. Geometric and origami folds were held together with the strategic placement of eyelets as long gowns, interesting summer dresses, cool minis and stylish hooded dresses were part of the collection.

The styling was very prehistoric giving the garments an almost Garden of Eden look, but they were as trendy and contemporary as ever with many of the ladies in the audience wanting to buy them.
As far as hanger appeal was concerned the creations didn’t score any points but once worn they came alive on the body of the wearer.

Here was garment construction of the extreme kind which requires days of experimentation, which Anuj Sharma has managed to master. Allowing the garments to be the only focal point Anuj made the models to go bare foot on the ramp devoid of any accessories except some twisted wires.
It will be difficult for Anuj Sharma to beat this collection. But then you never know he may have something better up his sleeve next time.

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Deepti Toor has worked with craftsmen from different parts of India putting together collections which are more a show piece of the workers’ efforts and her directions.

From the ikat weave to the Warli paintings, she has experimented to bring to her garments a textile base which is quite different from what is available in the open market.

For the coming season Deepti has worked with both the above crafts and translated them onto Benares Silk which gave her creations a very exclusive base to work on.

But while Deepti’s strong point may be craft and not designing it is sensible to know her limitations where she allows her textiles to do the talking for her.

Her all grey collection in silk which was used as the basis for the Warli Paintings in ikat weaves but in a more modern undefined pattern, had touches of fuchsia and red fabrics.

The complete western line of dresses, skirts and blouses had knee length shirt dresses with sashes and long or short sleeves, sheaths, blouses and skirts. The details were a diagonal yoke in a lighter shade of grey, three quarter plackets, mandarin collars in the contrasting colours of lilac or red, piping for belts and hemline a combination of grey skirt and lilac blouse, occasional pleats in the front of the garment, a play with dark and light grey, sheaths with side slits and cap sleeves, a pretty lilac cape collar for pencil dress and fuchsia piping insets for belts, cuffs and bodice.

All the above were very safe and easy fashion directions that did not require much effort or creativity.
No doubt the garments will be great sellers anywhere in the world but as far as imaginative garment construction is concerned Deepti stays away from it.

On the other hand it is good to know one’s weaknesses and not try attempting them. Besides, Deepti Toor’s collection has what other’s don’t – exclusive fabrics that no one can imitate.

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A men’s wear show by Narendra Kumar never disappoints. This time his inspiration was modern fast paced India ready to move onto bigger challenges so it was ‘Get Set Go’ which was the theme of the men’s wear line which started with bearded models dressed in flashy red, blue and brown turbans.

Keeping to the mood of the show Narendra selected middle weight knitwear, chino, leather, denim, corduroy and velvet in show stopping colours like red, electric blue, olive green, beige, brown and black which were turned into a variety of jackets, multi pocket trousers, zip up knits, and cabin jackets for sporty outdoor wear.

Opening with a white pigment leather sports jacket with steel buckles and buttons as fasteners; he added on red cotton chino trousers with arrows used as loop detail. The next in line was a red cotton jacket with matching trousers. The red story continued with leather jackets, then moved into beige, olive green, dark brown, for cropped jackets with side pockets, followed by a blue story of cotton tees and trousers and ended with a black line of denim and jacquard jackets, bandhgalas and embroidered sports jackets.

Detailing included large bellow flap pockets, embroidery on back, shoulders or front, chevron leather insets, epaulets, two button single breast jackets and short or long coats.

It was a clean sharply tailored line with lean silhouettes for the skin tight trousers and form fitting for the jackets and coats. There is no doubt that Narendra Kumar is more comfortable designing men’s wear and he is in demand for this segment as he is good at creating the right patterns and drafts of men’s garments.

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Prriya and Chintan are known for their opulent bridal wear and jewellery but for the coming season they have introduced their prêt line inspired by the artist and designer of the 1920s, Erte.

While for the duo it may be a prêt collection but for the viewer it appeared to be more diffusion and an extension of their bridal line since it had all the glitz, glamour and opulence of their signature style.

The colours were vibrant purple, jade green and gold for saris, skirts, dresses and jackets. Men’s wear featured with draped sherwanis, prince coats, Patiala salwars and dhoti skirts. There were intricate drapes, pleats and prints and the overall look of the collection was dramatic and very grand.

Prriya and Chintan had some interesting innovations for ethnic wear like the pallav as a sleeve for a gold sari worn with a Lurex blouse, saris with double pallavs, tube dress with cross over drape, saris with yokes, an interesting jacket choli with long bell sleeves, some prestitched saris, a draped corset teamed with digital prints, and saris slit into two drapes and teamed with net jackets.

Men’s wear too was generously embellished for gold sherwanis with cowl drapes worn over gold kurtas.
The finishing and embroidery were of a very high standard and the garments had a very grand and opulent look.

If the pair wants to sell the creations as a prêt collection and except large orders for it; then they may be slightly disappointed since the garments were more suited in the exclusive section.

The collection has been reviewed more as one suited for festive or bridal wear and maybe Prriya and Chintan should also re- think the category they want it to be placed in.

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The Tropical Island collection by Wendell Rodricks was a summer resort wear line for the grand finale inspired by the colour cosmetic range by Lakme of the same name and it lived up to the theme perfectly.
As always Wendell presented some interesting cutting techniques but did not deviate from his signature resort style wear which he is so comfortable designing.

The fabrics ranged from georgette, Lycra, jersey, linen, satin, cotton, and crepe. The colours were inspired by the cosmetic brand. Breaking up the show into the popular beaches of the world, Wendell took the viewers on a journey through Goa, Polynesia, Capo Verne, Seychelles, Sri Lanka, Martinique, and Zanzibar.

Whites were reserved for Goa while Polynesia had shades of blue and green and Capo Verde lots of pastel shading. In the Seychelles section it was white, brown, blue and cocoa while for Sri Lanka, Wendell brought in hand painted batik images of watermelon, frangipani, hibiscus and breadfruit leaf motifs. Martinique had a colourful segment of red, fuchsia, acid yellow and Zanzibar swung to the beat of multicolours.

The outstanding creations were a satin silk dress under 80 metres of georgette ribbons, over lapped trousers, a Lycra mini wrapped with 10 metres of seamless band of elastic mesh, blue linen bolero, white linen empire line overshirt with flared sleeves and foam skirts with Matisse inspired motifs of fish, butterflies and birds.

Five men’s wear outfits ranged from a sherwanis to sarongs shirt, and tunic.

Detailing included layered trapeze line tunics, button inserts, petal shaped Lycra surface embellishment, Lycra and jersey dresses with disc inserts, cotton draped and looped skirts along with foam accessories.
The finish of all the garments was impeccable and the use of colours was beautiful.

It was a collection that Wendell Rodricks should be proud of since it had great retail potential.

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