The Will Lifestyle India Fashion Week, a leading business event for the fashion industry, is back again with the Autumn Winter 2009 collections. The much awaited event is being held at Intercontinental Eros, New Delhi from March 18-23, 2009. We at RVG Newsvision bring you daily coverage of the shows with detailed reviews specially written for us by fashion expert M.Mistry and Ritu Jain (Design Department) of Pearl Fashion Institute.
Cable knit woolen dresses, shrugs, bias skirts and ponchos
3.
Adding faux fur and velvet as trims
4.
Mix of colours and designs for sari pallavs
5.
The Gothic look combined with Punk Rock
6.
Texturing fabrics with pleats, pin tucks and fish scales
7.
High waisted and cigarette pants
8.
Kali style in kurtas, tunics, and jackets was much favored
9.
Salwar dungarees with tie ups was a new silhouette
10.
Asymmetry in overall look was seen with styling, texturing and layering
Samant Chauhan
The designer is a NIFT graduate, whose genius was spotted and rewarded with three major awards from the institute itself. The winning streak continued with his international recognition in Singapore in 2005, New Zealand in 2006 and a special invitation to participate in the London Fashion Week in 2007. His forte lies in natural fibers.
A day in the life of the weaver is a lesson in stillness… broken only by the din of his warp and weft moving deftly as it weaves together the thread of life together in a beautiful body of fabric. The source of his existence; his unsung song that will soon leave his loom, his home, his cocoon to begin a faceless journey- till it catches a designer’s fancy and becomes his song, his rendition , his voice…
Samant Chauhan presented a grand brigade of warriors, crusading to maintain the life of weavers of Bhagalpur:
* human power
* sustainable futures
* heirlooms- threads of legacy
* endorsing authenticity
He presented a range of men’s and women’s wear ensembles in the hand-woven and knitted tussar silks. In tones of froth to coffee beans, the fabrics were worked into exquisite surface textures sometimes flattened and sometimes left coarse. A wonderful play of broomstick crushing, paper crushing, pin tucks, or scaly texture emulating pine trunks in a parched land combined with embroideries, thatch weave, pleats and brocades lent dimension to the collection. Frocks, dresses, tunics and jackets in elegant paneled skim fits, peplums with slim pin tucked pants, dhoti pants , zuav and churidars were the popular silhouettes.
Tussar yarn and cones were tied into turban headgears.
Except for the cocoon dress standing out for its oddity, the audience loved this collection.
ISSUE 12 FEATURING NICK KNIGHT, JURGEN BEY, GIAMBATTISTA VALLI, CHARLES JENCKS AND ROGER HIORNS
The latest edition of CRYSTALLIZED™ goes behind the scenes of contemporary culture, tapping into the profound intelligence that lies beneath the glamour and glitter of the fashion, art, design and architectural spheres.
Internationally-acclaimed creatives line up in issue 12 of the glossy, large-format magazine to reveal the motivations, inspirations, philosophies and methodologies at the heart of their most accomplished works – works that are about much more than spectacular surface sheen.
Brilliant thinkers, sparkling creatives
Dutch design duo Jurgen Bey and Rianne Makkink invite CRYSTALLIZED™ to Rotterdam for a privileged glimpse into their new studio, while world-renowned architectural theorist Charles Jencks shares his candid views on some of the world’s most iconic buildings. Roger Hiorns, a British artist, amazes with his large-scale installation that saw him fill an abandoned home with 80,000 litres of copper sulphate solution. An exclusive interview with Nick Knight, illustrated with a tightly edited selection from his impressive oeuvre, perfectly exemplifies the brilliant melding of surface shine with profundity of thought for which CRYSTALLIZED™ has become known
Bright lights in fashion
Fashion seizes the opportunity to dazzle on many levels. The magazine examines the key role played by lighting design in catwalk shows, and Giambattista Valli grants a private audience to talk radical chic. Star-spangled fashion shoots, showing crystal-embellished pieces by Lanvin, Chloé and Marios Schwab, amongst others, strike a filmic note. ‘Bright Lights, Big City’ showcases the extraordinary new model Karolin, styled by CRYSTALLIZED™ fashion editor Arabella Mills and shot against a sensational New York backdrop by Annelise Phillips; Mills also styled ‘Girl, Uninterrupted’, a dramatically lit story by Laura Sciacovelli. ‘A Woman Under The Influence’, styled by Francesca Burns and shot by Benjamin A Huseby, evokes the moody beauty of a young Gena Rowlands.
Here is one designer who is destined to shine bright. His creations reflect his sensitivity to human strife and the burning environment concerns. A graduate from the National Institute of Fashion Technology, he has won sundry awards as recognition for his skills in various arts like films and painting as well.
Conditions apply part II
Nitin’s collection presented at WLIFW yesterday mirrored the many dismal realities of metropolitan lives which create conditions propelling many depressions, phobias and nervous break downs. His collection was woven around nine, often ignored or denied, stories of vanity, deliverance, teen suicide, mediocrity, accidents, urbanization, senior citizens and sealing. Symbolizing constantly-on-the-edge urban living, gently expressed through his grim grey, black, white and ivory with spurts of acidic brights.
Cotton, fine wool and wool blend fabrics firmly carried the constructed expertise of the master designer. The collection solemnly intertwined asymmetry with structure and fluidity. Clever play of structural design details were achieved through play of dart manipulations, pleats, patch works. Fluting, quilting, zipper detailing, wired open mesh work in fabric, electric style lines, twill tape textures were all combined in smart silhouettes. Pleated detailing made frequent appearance to rim the lapels, form collars, peep from edges and contoured style lines in skimming pants and dresses creating unexpected edgy touches. He continued to explore unusual silhouettes in dresses, jackets, coats, capes, skirts and pants. A patiala salwar dungaree with back pockets was a new silhouette.
Reflective of the theme, clothes seemed to trap the wearer in sharp lines, geometrics, tight fits and severely perfect detailings. Electric circuitry, steel, wire, spectacle and video tape head gears as also large bags and bulleted belts accessorized the ensembles.
He confronted and exposed the harshness of the world we are creating for ourselves as he continued to win over the audience with his impeccable uncompromising ensembles. Nitin’s collection tended to show gentle movement towards more commercially viable designs.
A graduation degree in fashion designing from Mumbai’s Sophia Polytechic, training in London under Jasper Conran, her label ‘Kimono’ launched in Kolkata – Kiran Uttam Ghosh's creations reflect her journey through the various landscapes. A blend of eastern traditions and international sensibilities, understated, realistic, well shaped silhouettes and innovative drapes; she is already a name to reckon with.
“Frugality is credible, considered and cool”
An important statement made by the designer in times of economic down turn where new meanings must be evolved. In the times where fashion may be damned as irrelevant, unimportant and possibly immoral, she presses that fashion is a reflection of the world around us. Her fascination with vintage fabrics and antique materials had an edge of recycling to it.
Kiran presented a collection reminiscent of an old world, antiquity and nostalgia with a palette of deep purples, jungle tones of green and brown, gold, copper, rust ink blue, gun metal and smoky midnight blues brought dimensions of deep forest. Equally rich and diverse was her mélange of fabrics combined together in an expert play of refined grunge textures. Sheer organza, heavy as well as fine wool knits, Kilim embroideries , traditional weaves, ikat prints, viscose knits, georgette, velvet, textured silks all found place juxtaposed in varied combinations. Intriguing combinations of solids, checks, patterns and stripes were seen.
Lots of layering in varied silhouettes added excitement. Flowing drapes, Egyptian collar, Kimono jackets, jacket dresses, peeping petticoat like pleated skirts, churidars, stockings, Kaftans, paneled jackets, bias cut gently flared skirts, lantern sleeves, torn and pulled organza ponchos, tunics, capes, shrugs and slim fit dresses - there was something for everyone.
Whether the collection reflected frugality is highly debatable but it certainly was charming haute couture with rustic street style. A very practical collection with playfully intense layering and enough room for the wearer’s imagination.
Ritu Kumar is truly the Grand Dame of the Indian Fashion Industry. She could be accredited with single handedly reviving the lost Indian handicrafts and translating it into high fashion. Way back in the sixties, when Indians were shunning the heritage of cottons and silks for plastics and nylon, she researched the Indian prints and weaves to rediscover the local reservoir of delicate skill. She continues to set new trends and dazzle with her creativity. Amish Kumar is the designer of the collection for The Label this season.
The prêt line, The Label, from the House of Ritu Kumar designed by Amish Kumar was a perfect blend of styles both ethnic and western that held the audience spellbound.
Called “Urban Folklore” the collection had ethnic colours and designs which defied the tried and tested dictates of dull muted shades for autumn/winter. The fabric mix was just right as silk, and silk wool mixes along with jersey gave the perfect drapes to the garments. The small line of wool coats and some amazing cable knit wool sweaters, shrugs, dresses, skirts and ponchos added that perfect winter touch.
The collection was divided into six parts each distinct in its look and style. Taking inspirations from Islamic, Japanese and Uzbeki prints here was a traditional Indian slant given to the patterns.
The Stripes line had broad railroad parallels used diagonally for dresses, jumpsuits, swirling tops, coats and blouses in shades of yellow, purple and magenta with an emphasis on gold and matte sequins on collars, pockets and yokes.
Mosaic, the second line inspired by the Islamic tiles in peach, blue and beige was perfectly piped, pleated and pin tucked for swirling tops and slinky wide-sleeved minis.
The Checks collection, almost Tartan in nature, had hints of silver and was used for long tasseled scarves, trousers and quilted tops.
Patchwork came in for the next collection called Tussore Wool where coloured panels in rust, grey and yellow created magic for mini skirts, bubble blouses and tops which were worn with fluid pants with a centre pleat.
The Prints line came in strong with the Uzbeki flower on jersey for sack dresses, skirts, shifts and tiny blouson dresses. Here the appearance of a black woolen short coat with dazzling embroidery was eye catching.
Risaic, the final line, was a colourful blend of ethnic Indian prints embellished with zardozi and brocades on Mothra silk in vibrant maroon, yellow, purple, mud brown for flouncy paneled dresses with interesting drawstrings that raised the hemline at various points. A Printed halter dress with net, a mini with a draped pallav, a red will-power ethnic print dress, a patch work paneled mini were the highlights of the section.
Two saris were the only ethnic offering in a collection that was predominantly western but extremely practical, trendy and vibrant.
Rocky S took to designing as an afterthought. A full fledged commerce graduate, he gave in to his designing instincts and acquired a formal training at the J D Institute of Fashion Designing. A job at Roopam in Mumbai helped him find his feet and he became a hit with the denizens of the Bollywood film industry. He has gone on to become a designer of repute and most top film stars in the country have been adorned in his styles. He has participated in the IGEDO fair and many others. His name is the brand name of his store and his line.
Creator of glamour wear for Hollywood divas, Rocky S presented a pure western wear line that was quite unlike the work of the designer in the past. There were touches of Gothic and Punk Rock influences along with the look of the 80s that surprisingly came together rather well. The colour mood was sombre – black and charcoal gray ruled with olive, chocolate brown and bits of jade topped with glittering silver. The fabrics were varied as linen, lurex blends, satin stripes, georgette and jute along with velvet, lace and leather blended to inspire Rocky to texture them extensively and almost change their feel.
Embellishments included sequin sheeting, studs, jades and antique embroidery for very feminine shapes that moved from pencil skirts, clinched waist dresses, shifts, corsets and space age jackets while feathers and faux fur added to the glamour of the creations. Fish-scale textured leather skirts, full length satin textured dress, a stylish ivory lurex one shoulder pleated drape, antique silver sheathed hooded jumpsuit in gray and a brown cotton jute studded jacket with pockets were some of the elegant outfits.
Detailing moved from necklines to sleeves, hems, pockets, skirts and blouses and created quite an innovative feel for the fabrics. Pleats and pin tucks played an important role in giving the garments that high fashion glamour quotient. It was formal wear with that edgy touch which needs a woman who is self confident enough to display it.
Satya Paul, an immigrant from Pakistan post partition, launched the label way back in 1985. His brand, Satya by Satya Paul, has gone on to become an iconic international brand. Genesis Colours is now the holding company for this brand. The label has become synonymous with glamorous saris. The line presented this season is created by Puneet Nanda for Satya Paul.
When creativity and presentation come together the result is fabulous. But even if one is lacking, then there is some disappointment. Puneet Nanda’s collection for Satya Paul titled “Maya” aimed to present a collection that was an illusionary inspiration of the word.
When the show opened practically in darkness the first orange line of garments and saris were nearly “illusions” for the audience, as one strained to see them and could not admire the beauty of the creations. Fortunately as the show progressed the lighting improved and soon a collection of multi-coloured shaded abstract designs on silks, crepes, net, satins were unveiled – some as saris and others as sleek cocktail dresses with glitter and dazzle and interesting strappy backs.
The saris shimmered with all over bead work, sequins and embossed glitter in colours that were dominated by orange, green, deep blue, yellow, rust and of course black. Sheath dresses, batwing sleeves minis, slim kurtas, layered asymmetric hemline dresses made up the western wear line. While the dresses were seductive with their crystals and rhinestone straps or high side slits for gowns, there were myriad versions of the saris and the abstract prints.
Contrast shaded printed Pallavs broke the monotony of an orange/green sari. While quilted jackets with saris gave a wintry look to this glamorous Indian drape.
Where Puneet scored were with the cholis – a stunning wide beaded collar black net blouse, a black net raglan long sleeve tie up choli, a strappy bustier worn with a stitched sari and saffron coat and a sexy tiny choli held at the back with a crystal ring.
The designer however overlooked some unraveled threads and zari from the embroidery which marred the beauty of the saris.
It was a collection that was high on ethnic appeal but somewhat a little tame on the western wear front.
