Rock n Roll inspired neo-grunge look from Rajesh was an interesting departure from the predictable clean minimalism he is famous for. ‘The crushed disheveled baggy jodhpurs in soft poplin fused with cargo pant details like patch pockets, dark plastic buttons and topstitching gave birth to a hybrid, ‘Cargo Jodhpurs’, more casual and relaxed. Classic denim jeans appeared for the first time this season in his collection. He made real rock stars from various Indian brands to walk the ramp in his neo grunge collection of printed washed denim suits, slim fit jackets coordinated with cargo jodhpurs, sloppy worn in mix and match coordinates in a care’lessly’ put together style.

Muted effects, over dyed and washed out vegetable colours from rust, jaisalmer, indigo and red stone rendered nostalgic appeal of haldi yellow, deep indigo blues, khaki neutrals, yellow ochre, reds, terracotta, broken whites and greys.

Skull motifs and derivatives thereof made for interesting prints in Ajrak, a traditional craft of hand dyeing and block printing with natural dyes, still prevalent in Bhuj, located in the Kutch region of Gujarat as well as in the border areas of Rajasthan. Although it is a great idea to mainstream a traditional craft like Ajrak in fashion products, but according to Rajesh the problem is of sustainable productivity, considering the fact that natural dyes require a minimum period for maturing and fixing colour to achieve its full potential and fastness.

It was gratifying to note that home-grown natural fabrics like cotton, denim and linen replaced the oft outsourced synthetics as an emerging trend amongst our designers. Another popular trend seen across the board was of hand dyeing and washing as opposed to industrial techniques. The collection was accessorized with white metal jewelery was specially crafted for the show.

Here was a show with a fresh appeal. Sanchita presented a versatile line-up that she called a ‘Synesthetic collection’, where she overlapped new technologies with craft and function. The apparel reflected the designer’s profile, the Indian origin and the soul of the globe trotter.

Impeccably finished garments were kept classic and understated, and stylishly mixed and matched, allowing for room to play with individual preferences. Monochrome crunchy cotton embellished blazers teamed with lava cotton jersey printed t-shirts, were worn over muslin jersey track pants, accessorized with a gauze scarf and nubuck leather satchel and sandals, all in Taupe. Muslin jersey was used for printed shirts, blazers, track pants, bomber jackets, boiler suit et al. Twill was used for shorts and trousers; linen embellished tees, jersey tees, linen ties, gilets and shirts – all mixed and matched to make for a very contemporary leisure wear. A muslin embellished kurta was teamed with track pants, without deviating from the core of the theme.

Silhouettes remained easy and relaxed, fabrics were natural cottons, twill, jersey, knits, gauze for scarves, muslin. Sanchita’s colour palette remained muted with inspirations from volcanic rocks, minerals, crystals and stones, such as scoria, feldspar, obsidian, pyroxene, granite, trona, chromite, olivine, rhyolite, pumice and hornblende, as well as the muted red and orange of volcanic minerals and taupe dominated.

Accessory accents were added with suede leather satchels and backpack; bags, sandals and shoes made of laundered nubuck leather or nappa leather, with the use of canvas in combination. Necks were adorned with gauze scarves, metal leather or feather neckpieces.

The multi-faceted Goan designer launched his debut men’s wear collection on the third day of the second India Men’s Week. Wendell Rodricks sought his inspirations from the tango music and dance of Buenos Aires, and the macho Gauchos in the Pampas plains of South America, a region he was holidaying in recently. The theme of the collection was ‘Tango Argentina’ and the models, as they trod up and down the runway, had the flirty look in their eyes, emulating the Argentineans as Rodricks had seen them do back there, bringing forth an aesthetic blend of the masculine Gaucho and the feminine influences of tango.

The first of the cowboys strode out in a white linen shirt embellished with black sleeve rivets and stitch detailing, worn over slim drawstring trousers in matching white with red satin hem. The theme played on through a lineup of more linen shirts sporting variations of contrast pocket placements or colour play in panels, sailor shirts with red and black stripes, shirts sans topstitching, long sleeve t-shirt teamed with a long over-shirt with drawstring hem, kurtas with v-neck, sailor neck, or simply reverse singlet hem line. There was the cotton cardigan style shirts with sheer red georgette and black wool-crepe borders, Nehru jacket, cross-over tie up ‘Playboy’ jacket, lycra t-shirts. Sweeping in at the last was a black, crinkle floor length sherwani worn over a white silk shirt with flying black ribbon panels. Bottoms comprised gaucho pants, slim trousers, some with drawstring or regular or skinny or dhoti inspired. Clean cut silhouettes very suitable for the contemp male or female.

The designer used a mix of naturals, blends and synthetic fabrics like cotton, linen, silk weaves, wool-crepe, Polyester silk, lycra, chenille slub, cotton-jute blends, cotton-silk, lycra-cotton. Satin and georgette was used for edge embellishments. The colour palette remained predominantly white for the tops but reds and blacks were present in strength for the bottoms or as tapes and contrasts for panels on shirts. A black jacket with red lining and cross tapes was striking. Hand-painted tattoo motifs, appliqués, contrast ribbon tapes on edges and hems, pintucks etc were used as embellishments. Mufflers showed up occasionally as accessories along with hats. A polka dot print made a solitary appearance on a jacket or two.

The only odd item in this striking debut collection was a vest with the sides missing in most parts. The model took off his jacket and made a big show of it. Wonder what the designer had in mind. Wendell should do more men’s wear.

Rohit Bal closed the second edition of Van Heusen Men’s Fashion Week 2010 with a befitting Grande Finale ‘Sharaarat’. The stage was set and the show area was converted into a grand salon.

Inspired by the Indian Maharaja, he showcased exaggerated Indian silhouettes with a flamboyant flourish. Barring the hyperboles he delivered a top grade Luxury Product by any international standards.

The first collection of white Bund gala jackets was beautiful. Tone on tone quilting set the tone for the evening. The jackets were teamed with pleated jodhpurs and churidars, the achkans were paired with voluminous patiala dhoti salwars and the bright crush pleated rajasthani bundis were inserted to complete the look.

Brocades and glossy satins in the second collection added rich sheen to the classic shapes.

Dark blacks marked the third collection. While Layered elements like lace on satin were unusual for menswear, flocking and embroidered appliqués embellished the bottom hems of the jackets.

There was extensive use of hand crafted embellishments like embroideries in bright colours to offset the monotone colour palette. Peacock motifs and floral patterns were huge.

Indian fabrics like muslin, taffeta, silk, satin and chanderi were irrestible. There was extensive use of textures like shredded chiffon, crinkled muslin, quilting and treated leather.

The presentation was an unabashed display of Male vanity!

Overall great workman ship with over-the-board showmanship!