The Lakmé Fashion Week, a leading business event for the fashion industry, is back again with the Summer / Resort collections. The much awaited event is being held at Grand Hyatt, Mumbai from 05th to 09th March, 2010. We at RVG Newsvision bring you daily coverage of the shows with detailed reviews specially written for us by fashion expert M.Mistry.
Diagonal pleats with studs that appear on trousers, tunics and blouses
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Floppy kimono sleeves for blouses, dresses tops
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Using the Trompe L’Oiel method of embellishments
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Using embellishments as belts, collars, plackets, sleeves
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Map animal psychedelic prints
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Heavy detachable jewllery
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Gota pitta and chikan work
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Sheer backs of dresses covered with net
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Long slinky 70s gowns
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CRYSTALLIZED™- Swarovski Elements crystal elements for jewllery and embroidery
Kallol Datta
Kallol Datta graduated from National Institute of Fashion Technology, Kolkata in 2004 and went on to get another degree in women’s wear from Central St Martins, London in 2006. That he was invited to be a part of the Noise Festival, UK in 2007 as the only Indian nominated in the Fashion Formal and Tailoring category, is an indicator of the depth of his designing skills.
Another designer who sees fashion with bleak glasses is Kallol Datta. His themes have always been slightly unconventional so it was not surprising that this time he called his collection ‘Remission - Fall 2010’, which was influenced by the work of Francisco Goya and symbols of death of past civilizations. The sleeve was the focal point this time for Kallol, as he gave it shape and hoped that the wearer would understand his adaptations. The colours too matched his theme, having black with touches of nude, green, white and bright red. Prints are his strong point so there were four to fit each segment of the collection.
There were prints, layering and the silhouettes were a little grunge and fluid but with fabrics like cotton, and sheer textures. The first part was called Kitty Kat so the cat print appeared on red dress with side cowls; a green Floatation vest, the burial shroud set, the plastic surgery dress with front cowls and the very rugged combat blouse and khaki cargoes.
In the Suicide part there was a five layer jacket with knots at neck, a genocide dress in black and white, a waistcoat and sari and an escapee jacket with 3D insert dress and cargoes. The print in this section was a blob in white which was the work of artist Indraneil Ram Kamath.
For the Prison Slate segment the print was the prison name plate in red or black for an imprison dress and waist coat, a booked dress in red and multiple convictions dress with cargoes.
Finally the Road Kill section had a shoe print marching on all the garments right from the puckered dress, to the forked road garment with churi sleeves and the road kill loose shirt and pants.
If buyers are a little concerned about the names of the garment they need not worry too much since it is only Kallol’s way of putting things in a shocking manner. His creativity is quite practical as was evident from the number of women sporting his past collections at this show.
Kallol Datta may be a little avant garde for the Indian fashion scene, but he knows what sells to which customer.
CRYSTALLIZED™– Swarovski Elements TRENDS SPOTLIGHT THE LIFE-GIVING BEAUTY OF WATER
With people increasingly focused on Earth’s fragile ecology and traditional, nature-affirming values, the trend analysts at CRYSTALLIZED™ – Swarovski Elements have returned to the cradle of life – water – for their Spring/Summer 2011 theme. Crystal-clear water is not only one of our most precious resources, it is deeply significant to Swarovski itself. Life-enhancing, pristine, a brilliant reflector and refractor of light, this transparent liquid becomes a perfect metaphor for the life cycle of female nature and beauty.
Following on from an Autumn/Winter 2010/11 season that conjured creative expressions of buoyant optimism, the CRYSTALLIZED™ trend experts have identified authenticity, individuality, and a desire to re-establish harmony with nature as key trends moving forward. Water, as translucent and pure, nourishing and restorative as crystal itself, perfectly encapsulates our wish to return to the source of life, the very origin of being. It also reflects the respect Swarovski has shown for the environment ever since Daniel Swarovski I founded the company close to abundant mountain streams, in Wattens, more than a century ago. Water is a vital component in Swarovski’s success, generating hydro-electricity to create and polish to the highest levels of brilliance its world-famous crystals. Continuing the founder’s belief in the importance of reinvesting in nature, the company is proud today to actively support a range of water-related environmental projects around the world.
Light-filled, effervescent and forever in motion, water also symbolizes the circle of life through which female nature and beauty evolve – born at the source and moving through adolescence, to the final flowering into fulfillment and womanhood. Representing this creative, cyclical process, CRYSTALLIZED™– Swarovski Elements has named its five new trend themes SOURCE (Harmony), CASCADE (Romantic), SWAMP (Progressive), RIVER (Classic) and OCEAN (Glamour).
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 is another designer who gives quirky names to his collection and his inspirations are derived from different places, things and mythology around the world. This time it was Draupadi who inspired him and the title was “She Was So Dark That She Was Blue”. One would wonder how the theme would be interpreted by the designer, but the presentation was short crisp and to the point with definite silhouette directions and colour story.
Showing the collection in three segments, Resort, Fall and Indian separates, the garments were in a colour palette that was dark with violet, purple, green, and touches of yellow, black, blue, nude and brown. The fabrics were free flowing prints and solids for cotton and satin, tulle, jersey, suede and chiffon for silhouettes which were asymmetric for kaftans, wrap around, throw ons, jumpsuits and tapered skirts along with jackets, shrugs and trench coats.
Striking entries were the chiffon with slim satin pants, brown shift with diagonal pleat, Black crepe jacket with a diagonal zip, curved Bermudas, organza dolman sleeve hoodie, kimono top, one sleeve purple mini with black shoulder trail, black diagonal bandage mini with one chiffon sleeve, sheer black body suit with long sleeve shrug, a dazzling silver sequined nude coloured mini and an asymmetric hem satin print jacket over a black sheer skirt.
The formal wear section had a glittering sari in black with a long sleeve choli and waistcoat. The pre stitched sari, lehenga and choli looked glamorous and the nude net panelled lehenga with silver over shirt and net blouse was fabulous.
Anand Kabra proved that he is as comfortable with western sharply cut garments, as he is with ethnic wear of the bridal kind which will appeal to audiences from around the world.
Often referred to as Bollywood`s ace designer, Vikram started his career as a choreographer before rising to fame as a fashion designer. He currently adorns the wardrobes of the biggest names in the glamour industry. Besides his passion for designing, Vikram is a very good stylist, making celebrities of today what they are. Vikram’s efforts have always been to achieve synthesis of popular avant-garde tastes. This has been his unique selling point in his bridal and prêt-a-porter wear. In the fashion and film industry, he has created for himself a place, which can be filled by none other.
Vikram Phadnis promised that there will be no bling or over the top embellishment in his collection and he nearly remained true to his word. He also vowed not to use every colour under the sun and he did not. Instead it was black and white all the way in fabrics like crepe, chiffon, jersey, georgette, net and lace. It was a resort wear line for casual wear moving on to dramatic gowns and cocktail dresses.
The first part of the show in white had swing tops, chiffon smock over lurex shorts, lace dungarees, quilted jackets, capris, jumpsuit, panelled ribbon kali tops, blouson kurta with slim pants, lace sheath with a touch of gold on the hem, puff sleeved smock and belted chiffon dress with bell raglan sleeves.
Then, in the second part, crept in the black on a neckline, moved as a patch for pants, then full tights and as a print on white chiffon cape, Bermudas and as a yoke and on long flowing gowns. But Vikram hoped that the little touches of glitter he sneaked in, would add to the beauty of the collection. Black bead work on minis, a sequined yoke, gold Lurex for a chiffon panelled gown, a gown with fully beaded bodice and a gold lame striped mini with lace yoke were the shimmering additions. The sequined white skull caps also added the necessary dazzle.
The overall ramp appeal was okay but it was the finish, the fabrics and the rather mundane styling that did nothing for the collection. The lace looked tacky and the designing was a little passé for the 21st century. Maybe a return to the Vikram Phadnis of the past with his drama glitz and glory will work well with his clients and fans of the silver screen.
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.
For a perfect wedding and bridal collection, the presentation by designer Puneet Nanda for Satya Paul was the correct offering. The title of the show was “Zen, Zest Zip Zap and Zing”. A bit of a tongue twister and did not quite match with the elegant creations that came on the ramp.
The saris were dazzling in their beauty with the typical Satya Paul treatment of colour and selective embellishments. The shade card revolved around soft refreshing tones of blue, green, lemon, light orange, peach and pink. The fabrics were feminine with net, voile, satin and brocade, chiffon, georgette, crepe and silk textured with crushing and finishing.
The embellishments started with chikankari, aari, graphic prints and computer enhanced prints with sequins. The show was presented in sections of colours with the smudgy print of pink, orange, green coming in saris and long sensuous gowns. The turq section had kurta and minis with pleats and embroidery. Floral prints on pallavs were enhanced with sequins and the sheaths with cowl back had beautiful embroidery. Cholis were designed to look elegant for hot summer evenings. The grey section with rich silver embroidery had kalidar kurta and gorgeous lehengas with cholis. It was a dazzling collection as far as the embellishments were concerned but when it came to creativity in designing of the dresses they were pencil slim minis with a retro touch at times rather repetitive.
It will be a great saleable collection for Satya Paul during the coming wedding season, as Puneet Nanda has created it for a specific audience which loves the brand’s distinct style statement.
Lila Tipnis belongs to a breed of designer who excel in their field even without any formal training. She launched her label LINARIKA in 1996 and 1997 was invited to showcase at the IGEDO fair in Düsseldorf whence she started out with her own signature label ‘Lina Tipnis’.
Lina Tipnis’s attempt to recreate the gems of the Topkapi Palace and the many beauties of Turkey like the swirling dervishes, the blue Iznik tiles and the grandeur of the Grand Bazaar on to her Summer/Resort 2010 collection, ended up being a very successful attempt as the designer did not literally translate the ideas but used them subtly on her garments in the form of embellishments or prints.
With the city of Istanbul as her inspiration, Lina called her collection “Istanbul not Constantinople” and worked around a neutral palette of nude with ivory and mahogany to enhance the beauty of the gems. Using the Trompe L’Oiel method which means Trick the eye Lina’s use of this added a new dimension to her designs and creations. Her silhouettes were simple cocktail dresses varying in shapes from trapeze to tent, sheath to shirt, stylish caftans as well as Turkish trousers. The fabrics were Dupion, cotton burnout and satin.
The jewels were worked in as Chaand Gala halter dress or the saaz print and the Iznik tiles for cowl dresses. There was the unique taabla dress or the Sufi swirl with tulip tie-ups, or the low fork trousers with a tulip print. An interesting jewel dagger motif appeared along the neckline and a hooded armour dress in champagne was stylish. The ooji neck and the arch of the Grand Bazaar appeared on the neck as embroidery on the Dupion shift. The map print was reserved for a tulip skirt and the haar dress was in mahogany while the Trompe L’Oiel lock and key caftan had glittering waist band embroidery with semi precious stones and CRYSTALLIZED™ Swarovski Elements crystals. The overall ramp appeal of the collection was just perfect for the summer months, as Lina was very restrained in her use of the embellishments and created a great synergy between the garments and the gems. A well visualized, saleable, yet attractive line from Lina Tipnis.
The designer Payal Singhal made her mark as a fashion designer when she was barely fifteen years old by winning the ‘Shoppers' Stop Designer of the Year’ award. She honed up her inherent skills at the SNDT college, Mumbai and thereafter, further enhancing her expertise by acquiring a Master’s degree from the Parsons School of Design in New York. Her label was launched in 2000. She has participated in Fashion Weeks and Fashion Festivals in the US and Singapore, besides Hong Kong, Dubai, Jakarta, London and Miami.
Payal Singhal knows what sells for her niche market and she caters to it with great success. Her all ecru and sand collection had great summer silhouettes but it was the jewelled pieces on them that nearly stole the show. There were a few styling details like cowl skirts, tank tops and maxi dresses along with minis in sexy cuts.
The collection as always was aimed at the working woman who travels and has to dress to suit her profession. But with the summer season in mind, Payal aimed the separates for days and nights on the beach and even for a beach wedding. The fabrics were crepe, georgette and tulles with CRYSTALLIZED™- Swarovski Elements crystal embroidery. Starting with a crepe tunic worn with tulle legging and an embroidered collar; Payal ensured that each garment had some form of jewellery which could be detached to make the outfit a more casual option.
The georgette kurta with crystal encrusted yoke was worn with tulle churidars. Lurex leggings featured for a kalidar kurta. There was a striking brocade dress with a black and gold bib necklace, a Lurex tube with a maharani necklace and crepe cowl pants and the crepe pleated maxi with embroidered yoke was a beauty. Each piece of jewellery was beautifully crafted while the garments were easy on the eye and the body with a lot of flare and volume for the hot summer months.
A striking but practical collection with multiple uses for various occasions. It will be a success for Payal Singhal who made an appearance on the Mumbai fashion week scene after several years.
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.
Jaipur always seems to fascinate Anita Dongre and she either uses the inspiration in a colourful story with the hues of the rich heritage of the city or uses it as an inspiration for the hot summer months. For her two labels Anita Dongre Iinter-pret and Anita Dongre Timeless the designer’s Summer/Resort 2010 collection was all white in modal, organza, mul, linen, tissue silk and jersey and inspired by the architecture of Rajasthan and its timeless beauty.
The embellishments varied from hand embroidery to pitta, gota and chikankari to rich silver work. Starting with white, the designer gradually brought in the pastels of pink and blue and an almost faded Bandhani print for a ghagra and a backless shirt with a hand embroidered belt. There were long mul kurtas with gota touches and one worn with silver tights or churidars. The modal jersey gown was glamorous and Anita too played with the backs of garments giving them a sheer net covering to project a sexier image but covering them with the most delicate embroidery.
Sleeves were given a treatment that varied from batwing to petal and puff and skirts were full circle or panelled. Giving a mix of western and Indian creations, Anita also added on a bikini with shorts and a jumpsuit, kaftan and swirling ghagras. The saris in pastels were richly embellished and the overall impact of the collection was very soothing yet elegant to the eye. Anita’s aim was to allow a mix and match option between her two collections. Even though the inspiration was again Jaipur, this time Anita Dongre showed another facet of the city giving an ethereal touch to the collection.
Suneet Varma graduated from the London School of Fashion in 1986, at a time when the Indian fashion industry was near nonexistent. He trained under world class couturiers like Nicole Farhi in London and Yves Saint Laurent, Paris. He heads his company, ‘Suneet Varma Design Pvt Ltd’ and is one of the founding members of FDCI. He has two exclusive stores in Delhi and one in Mumbai along with retailing through ten multi designer stores across Mumbai, Dubai, Chennai, Bangalore and Chandigarh as well as London, Hong Kong, Indonesia, Singapore and the USA.
The collection for Resort-2010 from Suneet Varma was called ‘Night Fever’, inspired by the colour cosmetic collection of the same name from Lakme. It was a vibrantly wild line from Suneet with Swarovski crystal elements as the basis of the collection. Divided into five parts the segments were given catchy titles and the garments matched the moods as their looks changed into wildly exciting but at times over the top designed creations.
The Color My world line had patchwork, mix and match choices with tunics, draped dresses, sarongs and neon tones. The Call of the Wild was an animal print story in black, beige, and chocolate with Swarovski elements in peridot and topaz for skirts, short blouses and caps. The fabric texturing was with tie dye, Shibori and shading.
Pucchi Prints was geometric and very psychedelic with short dresses with a retro touch as fitted hip length jacket slim pants and long slim gowns in cobalt blue, emerald green and peach completed the look. Saris were worn with churidars or tights or draped seductively around the body. Ruffled capes and long covers projected that naughty but nice appeal.
The Preppy Argyle section had argyle checks and diamond motifs in lilac, beige and black for tunics, wide pants with high waistbands and sexy gowns. The Bold and the Beautiful group was restricted to long slinky gowns of the 70s and 80s era which were Red Carpet creations in deep purple, gold for floor length dresses and the evening pants and jumpsuit. The Night Fever collection spelt glamour with a capital G and it had everything that a Bollywood siren or even one in Hollywood would love to wear.
Suneet Varma is quite a showman and can be relied upon to put up a great theatrical performance of high octane for fashion. The clothes had oodles of ramp appeal and looked sensational on the models, but how far they will be saleable, one will have to wait and watch.
