The brand Neeru Kumar is synonymous with natural handcrafted fabrics and exquisite weaves. So it is no surprise that Neeru after 30 years of experience in the export and domestic market finally rolled out her first ramp collection to the delight of her loyal customers and the rest of the world. As a dedicated weaver one could see her deep commitment to the final product.

The collection featured extensive layering with folds and fabrics coming together in a spell of earthiness, elegance and romance. The silhouettes were comfortable and contemporary with asymmetric cuts ranging from skirts, drop crotch pyjama trousers, long and short smock dresses to structured jackets. The soft fluid volumes were beautifully coordinated to accommodate interesting details like traditional quilting, patch work, subtle pleating, texturing and subdued mix and match of prints and solids. Her signature saris in muted weaves and colours were as elegant as ever.

Sublime sophistication shone through the soft eco-friendly materials treated with exquisite stitches and ornamentation techniques. A die hard advocate of indigenous Indian crafts, her design aesthetics relied essentially on simplicity and elegance. She used luxurious blends of Wool, cashmere linen, cotton and silk to negotiate with the mixed climatic conditions of Indian winters.

Her colour palette remained earthy with neutral greys, creams and ochres enhanced by interesting weaves and warm accents of red, orange and mustard.

Over all a feel good, high on commercial viability range we can be proud of as an Indian!!

Akaaro’s show began in rewind mode as the models glided in backwards in slow-mo. Thankfully just three of them, and only a yard, before the lights brightened up and the runway got busy with the rest of them stomping out briskly sporting the creativity of Gaurav Jai Gupta. The metaphor of the ‘rewind’ entry was perhaps an indicator of going back to the past to play a modern interpretation.

Gupta’s magic with the weaves was yet again on show for this Autumn Winter 2011 line of apparel based on the Grecian concept of ‘divine proportion’ which is defined as the golden ratio of 1: 1.6. Hand dyed and hand-woven fabrics made of wool, silk, cotton, stainless steel for specific silhouette, made using ancient Indian weaving style of Tangail on a traditional handloom with paper cards was the star. The designer claimed to have stayed in reference to the Golden ratio or Divine Proportion across the apparel constructions – a pleated long shirt with cotton and steel slacks, wool gown with cotton lining, a silk and wool Bengal plea blouse teamed with cotton pants, a grey wool pleated dress with a deep V shaped hemline. Bottoms were a mix of slim pants, calf lengths, breeches, flared, pleated skirts, made up in wool, silk, cotton. A full sleeve dress made up of silk, wool and velvet, or cotton and wool panel dress, a cotton steel dress worn under a black silk wool robe. Detailing such as intensely crushed cottons, smoking, pleats, experimental necklines, redefined yokes for the tops kept pace.

The color palette was a muted tone of peaches, greys, camels, browns and hues of black. The collection stood out for its clean details and uncluttered, Western silhouettes. This was Gaurav Jai Gupta’s second show on the ramp - he didn’t let his audience down.

Apart from grace and vibrancy, the other significant aspect about their A/W 11 collection that exploded on the ramp was the beauty of ‘shashiko no donza’, the intricately quilted and embroidered coats worn by the fisherman of Japan. Shashiko is a running stitch technique much like Indian kantha developed by fisher women to provide warmth and strengthen work clothes and household goods- a sort of thrifty recycling. The vibrant geometric patterns were reminiscent of the ubiquitous plastic floor mats (chatai) a must have item in every Indian home, but what set the shashiko apart was the exquisite workmanship and intricate detailing.

Although their inspiration was rooted in an age old idea, the silhouettes were clean cut, simple, sharp and totally modern. Long and short silk jackets, shorts, dungaree dresses, jump suits, wrap around jacket, leather grid skirt, multi panel dresses in Awaji weave and shashiko detailing, were pieced together from yarns and strips of cloth beautifully patterned on grid fabric with strong graphic appeal. They also developed an interesting wool tweed with illusory patchwork effect.

A vibrant colour palette of red, fuchsia, lime and electric blue was offset with landscape of sharp grays and blacks.

The designers preferred basic silks, wool and leather for their exquisitely hand crafted ready to wear collection true to their experimental spirit.

Was it Varun Bahl’s brush with the czars of the film world when he had collaborated with the high profile producer Karan Johar, that continues to linger, or is it the designer’s personal sense of drama? A question that I asked as the stark Black and White colour palette of the designer’s Autumn/Winter line dropped the temperatures on the runway. The black bottoms with white tops or vice-versa, though sheer black over white sneaked in a grey look sometimes.

The show opened with a pair of stunning samurai pants, which continued to mark their presence this season too, along with slim looks, flared bottoms, calf lengths, scrunched at ankle look, et al. It seems fashion is getting more mature finally, leaving it to the whim, making comfort and personal styles primary over frivolous trends. Take your pick. The silhouettes ranged from voluminous, to curvy, fitted or straight.

Fabrics such as wool, crepe, georgette, lace, tulle, satins went into making this quasi couture line most suitable for a cocktail do on a mild winter evening. Jackets, cropped or otherwise, with short sleeves or full, shrugs, were well cut.

Layering and asymmetric hemlines kept the interest alive for tops, dresses and skirts. Detailing comprised trims, ruffles, appliqués, and folds and pleats, ribbons, belts, flaps, embroideries, shimmer.

Over all, a very feminine line that perhaps reflects the designer’s journey of evolution.

What makes Tarun stand out in the ever burgeoning fashion business is his distinctive voice which reflects the understated glamour and craft for the fashion connoisseurs.

The finale show on the first day of the fashion week was a befitting tribute to the Indian luxury market pegged at $4.76 billion (Rs. 21,420 cr) at the end of 2009 and estimated to grow at 21% to become almost three times its current size by 2015 according to CII-AT Kearney report

Tarun’s signaturel elegance was represented by long panelled godet kaftan with nude chikankari work, ombre overlap column dresses, slip dress with cigarette pants, Chinese cut out blouse with tulle saree, oriental jacket with ombre` sari and Ming motif gilet kalidar kurta with dhoti pants, flambouant perma pleated palazzos and exaggerated mandarin collars cuffs, fringes and key hole cut outs.

Artisanal techniques like dori wrapping, chikankari, shibori, Chinoiserie embroidery, toggle trims, jacquard weaves, quilting and velvet appliqués lent luxurious appeal to silk georgette, satin, crepe wool, cotton, velvet, Chinese brocade, cotton, silk jersey and leather materials.

The warm colour palette delved into deep shades of red, teal, muted wine, indigo and charcoal accented with taupe.

The extensively draped silhouettes with luxurious appeal reflected hints of orientalism in the surface treatments, shapes, colours and accessories.