It is not often that Sabyasachi Mukherjee takes the ramp with Rani Mukherji and Vidya Balan in Delhi, not since he joined the Lakmè events in Mumbai. Showing after a gap of 5 years, he enthralled the audience with his talent, workmanship, sense of style and love for tradition and indigenous crafts and its anachronism. Inspired by the sartorial elegance of the Mughal costumes, his collection was resplendent with signature Sabya elements fused in a rich blend
of individuality and sensitivity.

While the majority is frantically sourcing man-made fabrics from overseas, his focus,in a true revivalist mode, is on ‘casa moda’ (home made). Selection of cotton, handlooms and humble khadi as base fabric for entire collection in the most effective manner was gratifying. He used indigenous techniques like block/screen printing for all over traditional micro motifs, dyeing and overdyeing and washing to create base fabrics for a worn in look. These fabrics were further embellished with a fusion of hand crafted techniques like antique zari embroidery, thread embroidery, Parsi embroidery, appliqué motifs et al. The first collection was a pure classic look, straight out of the the miniature paintings. However a closer look revealed clever and exquisite detailing in his signature style. Teamed with pyjamas and churidars, the angarkha style kameez were snug fit at the top but generously flared at the bottom. Both menswear and womenswear collections were styled as if frozen in time.

The second collection was more interesting and experimental while the overall feel was costumy. The show began on a patriotic note and ended with a standing ovation.

The handsome celebrity designer from Mumbai, Manish Malhotra was the second designer to show his collection on the first day of the couture week. His couture collection was the usual opulent Bollywood glamour, this time around with ‘Spanish influence on Indian style’.

The easy-to-forget styles, were soft and feminine. His repertoire displayed airy saris, voluminous lehngas, full length flounce skirts, bustier tops,tunics, jackets, salwar, kameez and pyjamas. Long skinny sleeves, clean necklines, snug torsos flaring into voluminous bottoms, marked the overall silhouette.

The palette was predominantly light, in shades of ivory and cream with accents of burgundy, red, teal and black with a variety of metallic trims.

There was chikankari embroidery that he used for the first time, meters of silver gota edging, Swaroski Elements sparkles and texturisation on chiffon, georgettes, nets and velvets.

For men he suggested black velvet dinner jackets in satin/wool combo, the ‘usual suspects’, for evening wear, teamed with exaggerated and fluid volumes in Jodhpur pants.

Men’s color palette was sharp and crisp in black/white contrasts. The setting was glam with scores from his favorite Indian films, huge mirrors adorned the back drop and filigree lamps sprinkled light on the ramp.

The show was attended by his star clients, Rani Mukherji, Vidya Balan, Natasha Nanda and Koel Puri.

Gaurav Gupta transported the audience into the aquatic world of mermaids,seemingly his inspiration for the collection.

Ethereal bodies gently draped in diaphanous materials moved gracefully in saris and gowns. The stitched saris were exceptionally elegant and graceful. The ingenuity with which he used his drape and cutting skills to nip and tuck delicate fabrics to construct easy to wear options for complicated looking styles deserves a huge applause. He literally dissected the sari and reconstructed it in a very interesting manner. Pleated Pallavs attached to the blouse, gold chains replacing the pallav and one of the sari literally melting into a slip-on dress were interesting sari options for the coming generation.

The choice of colors was soft and pastel shades including whites, which dominated the palette. Fabrics were airy and super light weight like nylon net, lace, chiffon and charmeuse silk.

Zari embroidery and Swaroski Elements appliqués were used discretely for embellishment.These exotic saris were interspersed with full length gowns contoured softly in similar spirit. Some of the fish tail gowns in his signature style tucking, pinching and draping could certainly enhance the wardrobes of the likes of Aishwarya Rai who often represent India offshore.

This was one collection, Indian style with western spirit or perhaps the otherway round.

After all the effort with an interesting line up, the finale dress was certainly dispensable.

Rohit Bal drew upon history, fantasy and folklore for the couture collection he presented on the second day of the Pearls Infrastructure Delhi Couture Week.

The show was held near the poolside at the Aman Hotel. Preceded by cocktail, the guests were guided to the ramp site through a long meandering art gallery like setting, with Rohit’s master pieces, worthy of a museum collection, showcased beautifully.For once it was nice to be able to see the workmanship and detailing from up close.

He drew inspiration for his collection from the Persian word ‘Khasastari’, meaning colors of ash. The collection depicted simplicity of techniques and purity of whites.

Although beautifully crafted, the silhouettes were not very different from what we have seen before in his previous collections, but the fabrics and treatments were noteworthy.

He experimented with horizontal tucks and tapes in organza and Chanderi for classic cuts and shapes. Transparency and linear texture lent a Zen feel and pristine look to the first half of the ivory colored collection.

The second half of the collection was more opulent and glamorous, with signature metallic and thread embroideries on gold, black and burgundy fabrics that were essentially silk, lame and cotton. The collection was beautifully crafted but no surprise for those who are familiar with his styles.