Tytler’s Echoes of Roman Grandeur
Taking us back in time, to the Roman empire, replete with its imposing iconography, Siddartha Tytlers dark, grand line played with asymmetry, sheer and glimmering rhinestones at the ICW 2024. By Asmita Aggarwal He is the quintessential Mr Handsome Rahul Khanna, it has a lot to do with his genetics, being the son of Bollywood dreamboat Vinod Khanna, but unlike his father, he is doing fewer films, and is mostly setting Instagram on fire. At 50, if he can sizzle like that it is more to do with just looks! Mr Khanna was the showstopper at Siddartha Tytler ICW 2024 showcasing, where he told us through his line, Caligulas Feast, how decadence can be translated through extravagant ensembles, bursting with shimmer. Giving us a lesson in history — Gaius Caesar Augustus Germanicus, a Roman emperor, was assassination in 41 AD, but till he lived he courted pageantry like none other. Tytler exclaimed, He lived life large; a bit like me. The ramp was converted into a debauched feast, with a revolving stage, and a Roman bust at the centre, overflowing with flowers and lit candles, it had all the theatrics of 70 MM entertainment, and in this glamorous mix was also Malaika Arora, dressed as Tytler said, as if she is going to war donning an armour. What I am wearing is stunning, I felt like a fierce goddess, exclaimed Malaika. For the Roman emperor, known for his debauchery, and ostentation, the show paid homage to how he was also the most amazing host —thus the huge spread. On a lighter note, preparing for a show can be daunting, but Mr Khanna seemed unfazed, he laughed, I only thing I check to see is if my zip is fastened, of course I always take a few deep breaths. Khanna, who is a star amongst his fans, wore a velvet sherwani, with placement embroidery, though Aroras cutwork gown accentuated all the curves, she so diligently worked out without fail! My shoes should fit right; I should feel comfortable. I always say a prayer every single time before I hit the runway. And this garment is in addition to the many blacks I proudly own, she said, adding, I get FOMO if I dont walk the ramp. Tytlers draped gowns, complemented the imposing sets, exaggerated sleeves, charcoals, velvet as his sherwanis came with mythical golden birds flying on jackets with their beaks glistening with rhinestones. He thoroughly enjoyed adding asymmetry, played with layering and gave Malaika corsetry in gunmetal embroidery, depicting the strength he admires within her. Interestingly, the kurtas had metamorphosed, got many cousinshigh low hems, draped, pleated et al. He included faux fur, introduced cropped jackets with pants, asymmetrical dhotis, liquid fabrics that hugged the waists, and created the mood with Roman leaf-shaped emperor headbands. The dupatta draping aped the extravagance of the erstwhile kings. White and gold remains a winning combination, fabric manipulated into high-waisted skirts, more than lehengas there were options you could choose from. Kaftans as well as abundance of sheer teared through in body hugging gowns, skirts, exaggerated sleeves, exposing washboard abs and endless legs. Heavily jewel-toned jackets, large floral printed pant suits— bold was the mood. As flowers were everywhere, it was if you entered the garden of five senses, Tytler balanced louder pieces with frothier prints, rather than zardosi. Grand, dark are themes which interest me, concludes Tytler.
Suneet Varma’s ode to shine
Mirror work, to mokaish, shimmer has always been the highlight of Suneet Varma’s oeuvre, even as the designer, who was trained by Yves Saint Laurent announces, there is nothing better than being in the spotlight on your D-Day at ICW 2024! By Asmita Aggarwal What I really look forward to in a Suneet Varma show is his jig at the end of the showcasing—and let me tell you he has the moves! Suneet likes constantssexy, shine, glamour, and decade-old friendships. When we talk of shimmer, there is no one who can light up like Suneet—a tree stood in the middle of the runway, and the show began with Urdu poetry, thus the title Nazm for the Hyundai ICW 2024. Few know that Suneets mom, Indira is an avid lover of Urdu shayari, and they both bond over classic Hindi numbers. Over the years she has offered him unflinching support! From the 60s Ghar Ghar Ki Kahani, and a song by Kishore Kumar….Sama hai Suhana Suneet gave us a taste of vintage Bollywood with a dash of gold through his pre-stitched sari-gowns. Pearls were strung together to form blouses, cutwork flowers, rested on nimble shoulders, he used various techniques in the library of sparklemokaish to mirror work. Now that old is really gold— and Zeenat Aman is everyones It girl it was only apt to pay a tribute to her hipster pants era and strumming a guitar, in Chura liya hain tumne jo dil ko in the inimitable voice of Asha Bhonsle and Rafi saheb. There is undoubtedly no one as fashion-forward as Zeenat, thus models came armed with pixelated sequinned saris in white. Interestingly, he had socialite Shalini Passi almost dressed as a Barbie, only ruffled, in a sari. Bollywood chart-toppers kept the rhythm divine, from Aao na gale lago na, conjuring up images of Helen moving like a dream with heartthrob Rajesh Khanna, serendipitously also dressed in pink and gold! Faux feathers, bare backs channelled sexy, as the ramp was overtaken by mirror work, gotta borders, as if we had entered a house of illusionthrough tiny mirrors. The veil is enjoying its moment in the spotlight, and the Suneets fully beaded bustiers, and draped saris, reminding you of the ones that yesteryear actress Mumtaz wore, made vintage appealing. Palazzos offered ease, with tunics cut away from the body, as draped dhotis in ash grey, were worn with flared sleeve blouses. Sequinned sheaths, asymmetrical tunics teamed up with shararas, even if you switched off the lights, the garments will shine unabashedly. Surface ornamentation was Suneets way of welcoming a bride, who wanted to make sure she was the highlight of her D-Day!
Roses with lace for Isha Jajodia
Lace and Chikankari make a heady combo, as Isha of Rose Room woos brides with a softer, lighter full skirt, with just charming hints of shimmer for ICW 2024. By Asmita Aggarwal Black, lace and Jackie! There seems to be nothing better than this, add a top bun to this mix, and you get a show that tells brides —- you don’t need to be weighed down by zari, and zardozi, try lace. “I love her work,” said Bollywood actress Jacqueline Fernandes, adding, “I’ve been a fan of Rose Room, Isha has dressed me for many special occasions. The romance and femininity she offers, is a match made in heaven. There is superlative Indian craftsmanship making each piece graceful, and chic, almost timeless,” says Fernandes. Charcoal was not in the vocabulary of wedding wear, but Isha admits, she wanted to pay homage to its potency. “We don’t see this particular hue in Indian couture, Jackie was my muse, she manages to bring out the inner goddess. While I dressed Riddhima Kapoor Sahni in Chikankari with pearls,” says Isha. “I was confident what Isha would make me wear would be perfect, and it was,” says the sister of the Bollywood star Ranbir Kapoor, Riddhima. Rose Room had ornate tassels, off white, buttery hues were intermingled with faux feathers, and the body huggers came with trails. She added lace stockings under gowns, and bodysuits. Corsets were everywhere– fish tail gowns serenaded fitter bodies, though pants suits were worn with corsets and sheer shirts tucked, adding flirty layers. Isha prefers subtle glamour –mocha to peach. Saris with capes, and fabric manipulated into roses on gowns, elegant was the overall mood. Cinched waists, long net trials, beaded bustiers, emerald green shararas with racer back tunics, dropped shoulders cholis more ruffled than risqué, often came bunched up. Isha doesn’t like to mix hues, she keeps it solid—like the flaming reds. Gold Romanesque breast plates were tied at the back, calling only petite women, as the embroidery was tone-on-tone. Isha believes brides today are taking the unconventional route for their D-Day—the lehenga, choli and dupatta is outdated. Now it is the advent of corsets, full skirts, and maybe a short jacket. That’s why her ICW 2024 line, “Art of Eternity” is wooing new-age women with laces, specially developed, much more intricate than last year when she has the statuesque Vani Kapoor, in flaming red. Bridal hues too have taken a tumble with new, fresh, light colours reigning, mostly pastels, and add a certain “frothiness” to the ensemble, she adds. “I have introduced a softer palette, with dashes of red, which you could say is my signature. This year, architectural motifs forge a bond with laces to offer delicateness,” says Isha. In a wedding market dominated by heavy zari, zardozi, dabka to aari, gotta patti, there is a client, who wants to feel free, and easy and above all, not weighed down by threadwork. Isha’s recent trip to Rome, served as an inspiration in March this year, where the imposing churches, where the catacombs and frescos, some built in 440 AD, replete with mosaics, columns, arches and sculptures remain etched in her memory. “The detailing is what stayed with me, frankly being a creative person, it can come from anywhere even a Michelin star winning restaurant, or a cruise, I have so many moments in the treasure trove of my imagination,” she adds. Isha’s clients love the cinched waists, slender structured shapes, but elegant, she has not lost touch with what she began with “Chikankari. ” My line is paying an ode to love, in a poetic way, through the medium of couture, it is various forms of love “mostly importantly self-love,” she concludes.
Abu-Sandeep’s triumph of love
Their mission is to elevate craft to art, like they did with Chikankari, or mirror work, added white to couture; for 38 years Abu-Sandeep have been the undisputed frontrunners of luxury. They brought ASAL and MARD to Delhi for the first time at Hyundai ICW 2024. By Asmita Aggarwal It was a concept as old as time Rani meets Rajkumar, and frankly there were many firsts, the whites with the Kolhapuris for men were refreshing, flaming cherry red and bottle greens were dancing together, inclusive model Sakshi Sindwani made her presence felt. What I loved about Abu Jani and Sandeep Khosla who opened the Hyundai India Couture Week 2024, is that they did not forget their roots—yesteryears models Carol Gracias to Noyonika Chatterjee were back on the runway. The old merged with the new! The crowd cheered for Heeramandi star Taha Shah dressed in brocade pants, and a tunic with imposing flowers on his toned shoulders along with actress Wamiqa Gabbi. The lehenga blouse is modern now, its certainly not a risqué choli, it is ruffled/layered/sheer/pussy bow, you can pair it with your jeans later. Similarly, the embroidered kaftan, or their signature chikankari each of the 80 pieces, were an ode to the past making its way into the present. Crystallised bustiers, saris with capes, beaded tassels, to the maximalist gotta-patti the show had no dearth of shine. Their models came with white beards and in skirts, sheer and angrakhas; the ASAL brides in pussy bow blouses with lehengas. Minty fresh lehengas, and dhotis complemented their mastery over mirror work and the dupatta was replaced with the veil, sometimes just a pearl headdress. Abu and Sandeep have a distinct hold on their clientswhether it is the entire Bachchan family or the Ambanis, it has nothing to do with the fact that they have almost been around for four decades, but more to do with how they have remained relevant in a world of fleeting loyalties. Their lehenga for the recent Ambani bahu Radhika, was emboldened with hand painted artworks by Jayshri Burman, which the duo crafted into glamour. They also designed the younger brother Anil Ambanis wife Tina Munims lehenga; their interest in art, and artifacts is legendary. Plus, Abu collects vintage postcards to “almost” extinct textiles, plus understands the curvature of interiors, which he has dabbled in. Abu sketches, is quieter, while Sandeep is the gregarious one, with an in-built sense of humour, the grandeur comes from Abu working for various epic productions Devdas to Umrao Jaan. Though it is quite different from his first job—distributing leaflets at a gas station, Khosla is from Kapurthala (Punjab), they launched in 1986, when Indian fashion was fledgling. They have traversed a gigantic journey, from their first store Mata Hari (inspired by a spy) to acquiring Dimple Kapadia as their client. We are completing our 38th year in design. We began as maximalists, we have remained devoted to maximalism. Our design expression celebrates hand- craftsmanship at its most complex, and detailed level. We have reinvented embroideries to an impossibly high standard. We revel in layering, and fabulous finishing, and embellishments. Our work is unique, and an ode to living large, and celebrating beauty, and reinvention of the classical to create ultimate couture that is both contemporary, as well as destined to remain timeless, says Khosla, who like Abu is self-taught designer. For the first time in India Couture Week 2024, in Delhi they have introduced their label Asal, affordable bridal wear, and Mard for men. They admit they were the first to introduce the colour white, as a hue for couture, 35 years ago when it was considered for widows. We did an exhibition of white khadi with white embroidered jackets and kurtas, Jaya Bachchan was the queen of white. We did Kerala cotton kurtas in Chikankari, and other techniques when it was unheard of. Today everyone and his brother and sister lay claim to Chikankari, and the change and reinvention all started in our office and with us, says Sandeep. They celebrate the sheer growth of the bridal sector, and the profusion of new and expanded creative expression aided by an entire PR machinery, and social media presence. We are saddened by the rampant rise of plagiarism, there needs to be stringent measures to ensure it is strictly called out, says Abu. The two learnt the ropes from the best, Xerxes Bhathena, fashion designer at Burlingtons Fashion House, of the 70s, who later designed for Namak Halal as Praveen Babis designer. Asal by Abu Sandeep, was born out of our own desire to create clothes for a much wider audience, at a more affordable price point than their couture. We witnessed many designers ripping off AJSK, we decided it was time to create our own label, which boasted similar aesthetic sensibilities, but at a different price point. Asals product is beautifully detailed, glamorous, and reminiscent of our couture. It opens our creative expression to a whole new demographic, and expands the AJSK Universe. Mard is our young menswear label catering to the new-age man, who is unafraid to own his swag, says Khosla. Stand-up comedian Sumukhi Suresh began the show on a humorous note, and if anyone has seen Sandeep Khoslas Instagram, they will vouch for his laughs. They collaborated with musician duo Akshay and IP to include an album Cake with five original songs that were composed especially for the show. Akshay Raheja and IP Singh made their Bollywood debut as a composer duo in the film Crew, and earlier collaborated with Kunal Rawal for his couture week showcasing. Our work is instantly recognisable. And stands far apart from the rest. We work relentlessly to constantly hone and reinvent our expression so that every collection is better and more refined than our last. We put Chikankari on the couture map. We have made bridal wear and we continue to remain the leaders. We have reinvented zardozi, mirror work, thread as well as the block prints of Bandhani. Five years ago, we put Ajrak on the
Voluminous Sculpting
Giant moths on chests, cutwork forests on body huggers and you throw in a little of Henri Rousseau and a children book, The Fox and the Star, you get Rahul Mishras inspiration behind his LFW X FDCI 2024 AFEW line. By Asmita Aggarwal Would you ever wear the wing of a moth on your chest? If you believe in the philosophy of Rahul Mishra, you would as he would tell you that wing came from a combination of his two inspirations this season for the LFW X FDCI 2024 grand finale show in Mumbai. The first one is —– an illustrated childrens book The Fox and the Star by Coralie Bickford-Smith, a story about love, loss and learning to accept change and the second French painter Henri Rousseau better known for his jungle fantasy pictures, this largely made up the sense and sensibility of his pret line AFEW launched by RBL. Maybe you can call sculpting his third passion, guessing by the sculptures placed on the runway in white, just like most of his collection this season! Animals, leaves and even branches, of course the moth that transformed into a rather Surrealist one and placed on blouses, and unless you are an intrepid dresser you would choose something less fantastical, as this is after all a pret line, so it didnt need so many theatrics. Though one must give Mishra the boy, from humble beginning in Kanpur, A-grade for the way he manipulated aari embroidery, hand sculpting, cutwork, and patchwork in the line titled The Sculpt. Few know that the real reigns of the label are with Divya, his wife, who may not be the public face of the brand, but the entire backend is run smoothly by her in a sprawling NOIDA space. The duo first met at National Institute of Design, Ahmedabad, both were studying apparel design, and she is the one who coerced Rahul not to leave the course midway. On another note, Rahul has had amazing good fortune too, he got the seed money to invest in his label which many cant even dream of by winning the International Woolmark Prize in 2014, with the prize money of $100,000. But it is Rahuls not settling personality, and maybe a high degree of fearlessness that in 2020 he was the first Indian brand to showcase at the Paris Haute Couture Week run by the super snobby Chambre Syndicale de la Haute Couture. You could see glimpses of his PFW line in AFEW, watered down yes, subdued for sure, but his love for larger-than-life cut outs trees, flowers, branches were all was there in its glory, sometimes colourful most of the times monochromatic. The designer who grew up in Malhausi, studied in a school without a roof, is now from a star gazer, has turned into a red carpet favourite, and his love for shimmer this year was evident, sequins a mini avalanche of them were placed below his roomy pants, covered up with net, at other times as tapered pants and turtle necks, a testimony to this obsession. Draped skirts were another favourite, fabric manipulations seemed to be making a strong presence just like his exaggerated shoulders, an ode to the women heading boardrooms in the 80s. Checkerboard skirts that gave women an hour glass figure, he also serenaded the viral Instagram trend where you can now wear your skirts over your pants, however uncomfortable that might be! He used Hindi iconography on his sheer tees for men, something that current Insta star Orry would certainly pick up from him, or maybe will receive as a gift. The collection from ivories and charcoals moved to a brighter space, with exaggerated flowers, almost 3 D, as he went a little gimmicky too, with a revolving stage and models playing dress up! But the crux of the matter is that the ubiquitous pant-suit bigger and better is not going anywhere soon, it is still loved, and so are pleated midis, though Rahul decided to add some glamour to his denim too! Hems of his pants now shimmered and sparkled, as dirty pinks took centerstage. To end the spectacle of a mixed line where you could time travel to the Amazon jungle with his cut work pieces, or select a more studied but restraint approach to dressing with his well-crafted white shirts, Bollywood sweet heart Ananya Pandey sure went for a skinny, body con dress to show off her washboard abs. But with the entire forest on your sleeve or hem or chest, Rahul Mishra told us he is really in love with his daughter as he is imagining it come alive on his clothes, like Aarna does in her imagination!
No Gender Coding
There is a fragility in masculinity and Arjun Saluja finds this conundrum a collection-worthy theme. After six years he is back at the FDCI showcase at LFW with his gender bender clothing hoping to solve the puzzle of conditioning or at least question it! By Asmita Aggarwal Frankly, in fashion there are two types of designers—- one who are intellectual and dont play to the gallery and then there are the sequin lovers, who thrive to be in the news. Arjun Saluja forms the first half of these quiet warriors, better-known for his gender bender clothing, a knowledge center, he gained after working with the legendary Patricia Fields and graduating from the Philadelphia College of Textiles and Design. Bonus: He also knows how to make dyes out of onions! After a hiatus of six years, Arjun is back with his A game, and 17 years in the business of making menswear interesting, but calling it that would be unfair as women like his menswear more! Though the reclusive Arjun, will tell you making a mark in India is an uphill task as translating the language of global diversity requires time and patience. Arjun wanted to search for a new way of dressing, find a rhythm where you can express more fluidity, and he believes even though there is talk about androgyny, one should weigh in on how much has really changed on retail floors. India still lacks concept stores, there are of course, several multi-designer stores, says Arjun. After almost two decades, the designer considers his biggest achievement to be unwavering in his focus and the direction he wants to take his brand—- pushing novel ideas. Design doesnt have any end, it is all about improving your craft, he admits. Versatility is important in a price sensitive market, especially as Indians only like to spend on bridal ensembles, almost a cultural phenomenon. I wanted to break that mold, deconstruct existing patterns, says Arjun. Occasion wear is a winning game, but structural clothing is still finding its feet, for that many consumers shop internationally, they are apprehensive about cuts and shapes in India. They believe we do not understand tailoring, but look at how beautifully we construct bandhgalas, sherwanis and Aligarhi pyjamas. If you look closely at Yohji Yamamoto the Japanese maverick in every silhouette he has a fleeting touch of the kimono and his clothes are universally worn all over the world—local can be global it is finally about starting a conversation, he exclaims. His quest has been, how do you manipulate body types, cut ingeniously and drape effortlessly? How can bigger women wear your clothes and feel liberated, in conceptual clothing, he adds. His textiles of choice are chosen to support his vision, you need a fabric that can take two extremes structure and drape, making an interesting contradiction. Arjun has always attempted to push his customer, he cuts on a bias, cuts asymmetrically, circular, squares, serenades interesting shapes; silks, cottons, gaberdine to blends help achieve this vision in natural fabrics. Thus, 2024, his line finds fragility in masculinity, as he feels men are in a very confused state in our country today—there is overwhelming patriarchy, cultural dilemmas, egos, and above all conditioning that they have been trying to break for generations, feeling stuck in that space. Fashion can be political, it doesnt have to be like the BBC, it can deconstruct what we see and observe in an artisanal way, he explains. Arjun chose black to express himself this year, most of what we wear is ego based, and no one has answers to what we are trying to create in society through fashion. His admiration for Comme Des Garcons, Sacai, Issey Miyake is palpable, as he admits these gurus put emotions and feelings in their clothes, technically they made the body look different. Their kinks, beliefs, fetishes to suppression, is woven into a narrative that excites me, says Arjun adding that Balenciaga to Margiela were all architects of modern fashion. Designers who question the existing stereotypes have an angst about it, almost not settling for status quo, and that makes their oeuvre exciting, he says. His problem with fashion today is that it is all about marketing, it has less soul, somewhere you lose your identity, where is your unique language, it’s drowning in the sea of Instagram. I do embroidery only if it works for the narrative, I am deeply rooted in texture and surfacing, he admits. Women, unlike men, are clear about what they want, and even as he dresses strong women occupations have changed in the last 20 years. Women today have grown into their own, they are courageous and resilient, a great facet of a woman I admire. She is not looking for approval and she owns herself and is a whole individual, he concludes saying this is his target customer.
Revisiting roots
Whether it is Gaza, Kashmir, Syria or Ukraine, human exodus is captured poignantly through embroideries and embellishments as well as abstract outlines by the maverick Sushant Abrol of the menswear label Countrymade. By Asmita Aggarwal He had a child-like excitement every time he begins work on a new collection and thats what makes his ensembles a work of emotion. This time it is a song an ode to 1950s rock that he wrote and recorded with the help of a Mexican artist which will give his LFW x FDCI 2024 line a third dimension. But this year he has scored a first, his chipped paint walls have made it to WGSN forecasting site as a trend to look out for, so Countrymade by Sushant Abrol is now setting the benchmark internationally too! This is his fifth year of inception, for a newcomer the hustle can be overwhelming, as it is a high-octane industry, but Sushant has learnt to be a sponge, and approach things with the right attitude. The slow and steady approach had paid off dividends, and he believes consistency and showing every six months helps him stay on track, as routine gives seasonality and structure. His LFW X FDCI 2024 line Road Back as the word in itself says, is a journey backwards. Whether it is Kashmiri Pandits going back to their hometown, or people like his grandfather wanting to visit their ancestral homes in Pakistan, or Syrians going to Europe, or even Palestinians leaving the Gaza strip and hoping to return home soon, human exodus has been a cultural phenomenon part of human strife. The line is an ode to returning to your roots, and he says, it is not depressing at all, rather it is a bitter sweet symphony. The challenge has always been to think differently, thus these modern ruins are a testament to the undying human spirit, says Sushant. The small aspects of those who left their home and return to it, years later maybe even decades, is captured aesthetically through the storytelling with help from embroideries and embellishments that Sushant has used to translate these thoughts. Shattered glass on shirts prints when he sees his home has lost its windows, or the two broken chairs he used to sit on with his brother is now an abstract outline on a jacket. The old ceramics or modern fossils have been converted into buttons to resemble plates Sushant made at a pottery studio, with stoneware clay. The miniature perfume bottles of the mother who lived in this house once upon a time, are the motifs on his easy trousers. Walls paints are now chipped; thus, the colours are a strong amalgamation of rust orange and concrete. The denim that was wax coated in the last collection, this time around has been given a cement and concrete coating, which shows the cracks of time. We used rust granules in a powder form and coated the denim with it to make our trench coats, he explains. The line has denim over jackets as well as double-breasted blazers, relaxed but not like streetwear they have a definitive stricture, without using tapering. The problem with every menswear designer is the inability to sell daily wear as most men shop big for occasions, but undoubtedly Sushant is a storyteller and he understands the medium of fit and drape quite effortlessly. My dream is to save enough and open an experiential store soon, he concludes.
In India sex, humour, and politics sells
Jay Jajal founder of Jaywalking will tell you he is returning to simplicity, is excited about his test fit garment, calls his drawings ugly and reveals his USP is that he is a fabulous marketeer! By Asmita Aggarwal Jay Jajal aspired to be a rapper, and he thanks his good fortune that he did not pursue it relentlessly, maybe it was the Guijju roots that told him, being lucrative and creative is a deadly combination, worth pursuing or maybe it is was just good old common sense—though the ball is up in the air on this one. I am happy I didnt become a musician; I can now support someone elses dream of becoming one as fashion gives me the freedom to do what I want, says Jay. Whatever the case may be, the Mumbai based, heavily tattooed Jay is an interviewer’s delight as his irreverence makes it both entertaining and amusing. His father came from a small town of Mahuva, Bhavnagar, and sent his son to Singapore to study business administration, as soon as he returned, from a chawl in Borivali he began his streetwear label Jaywalking. Not wanting any funds from his parents, Jay put in the money he got from gigs and started with patchwork denims and paint splattered jackets. Though his USP is his original prints, and artworks, reflective materials, he uses along with neoprene, and utility pockets that add functionality to his clothing. The biggest challenge is to have some fun with basics that we all need in our wardrobes, says Jay, who is part of the menswear edit for FDCI at the LFW 2024 in Mumbai, and he adds India is not yet ready for extremely experimental clothing. The meaning of building a career is lost in GenZ, they get bored easily and what Jay says he has learnt is that you can hire intelligence, but the CV must read rebellious, having guts and being unorthodox. And he does admit that in the pursuit of brand expansion, he somewhere lost the personal touch he once had with Jaywalking and the masterjee who taught him the intricacies of pattern cutting and moulding fabrics. The market seems to be less focused on offering works of art, but is looking at price points only which somewhere take away the spirit of clothing. Whenever the artist in you takes a backseat, making collections is like doing the Maths, he admits adding, I never claim to be the architect of modern Indian streetwear it always existed, I just came and redecorated it. Streetwear is more of a culture, a lifestyle, and he laughs and says, I used to draw and what I did draw was ugly. But I liked them so much that I decided to use them on my clothes. I never begin with a preconceived notion; I try to surprise myself with the result. But he did everything in his own language, and began with no expectations. Nature has been a huge support system and I often use it as a metaphor in my clothing with its transient colour contrasts it charms me to see how despite the disparity there is a beautiful blending, he says, adding that being a Gujarati, he understands business, like his dad who runs his successful, occasion wear retail from Borivali. His biggest achievement is, he designs what everyone can wear, it is not costume-y, it is aesthetically consumable as utility is extremely crucial, otherwise it is useless he confesses. This year, he has stepped away from his usual hoodies, trousers, and constricted garments. Also I dont understand what sustainable means, in fact no one understands this word, but for me its about running an ethical business, he says. Using cotton, he likes twill and ecru or what he calls kachcha (raw) denim, non-processed. The piece that most will love is his test fit, ensemble, with masterjee’s pen markings that he retained, looks interesting. We live in a world of Instagram and I have got a lot of love from that part of the world, but the industry must support new designers, he says. Buying a home for his parents, giving them a feeling, their son is settled makes Jay happy, I dont know pattern cutting but what I do know is how to sell, and how to make you spend your money, he smiles adding that in India, only sex, humour and politics sells. This year you can pick up his camouflage print that comes armed with embroidery and applique, then his hand drawn pin stripes are equally robust, that are deliberately uneven, with a human element to them, they are not straight but crooked. I am returning to simplicity and I feel I need to oil my mind, he laughs adding, I want to live and do, invest myself in things that daily make me joyous, and slow down the pace to avoid a burnout again, he concludes. Just like his father who runs a 33-year-old brand of wedding wear, but he is not on Instagram, which saves him from daily toil of how to serenade a fickle GenZ customer.
Unmasking AI
Almost 36 Pearl students showcase the benefits and pitfalls of AI in AI is contagious, at LFW X FDCI 2024 with an interesting display of ideas through pixelation, distortions and translucency. By Asmita Aggarwal London, Milan, New York, and Paris, and India Fashion Week, almost over, fashion houses are ready to retail, but fashion pundits predict in the next three to five years, AI is predicted to add $150 billion, and up to $275 billion to the apparel, fashion, and luxury sector in profit, globally, according to McKinsey analysis 2023. AI will assist in designing, and generative AI can process raw text, images, and videoit can also help in written scripts to 3-D designs, and craft realistic virtual models for video campaigns, adds the report. There is no doubt AI creates a smoother fashion ecosystem, whether it is the fit, trends forecasting and maybe that is what the 36 students from Pearl Academy, have named their LFW X FDCI line, AI is contagious or intelligent simplicity. The various looks tell us how AI can be a boon and bane, the key is using it effectively and the show is thus, divided into three sections. The World Economic Forum report states 75% of Generation Z shoppers prefer sustainability, and brands like Stella McCartney tied up with Google Cloud, to add machine learning and cloud-based data processing. Burberry has introduced an augmented reality (AR)-based shopping tool that allows customers to virtually experience Burberry products. Google Shopping aspires to reduce sizing issues by increasing inclusive models for virtual try-ons. Tommy Hilfigers Reimagine Retail project shows how AI can be used in fashion to spot trends and FIT students used AI-based tools to create a range of designs generated by AI. Trendalytics, a New York-based company, uses AI to get insights from social media and Google and help sellers to know the popularity of fashion trends so that they know what will increase sales. Pearl Academy showcase thus, is relevant and in the Maximal section shows its use can cause distortions, showcased through the human anatomy specifically the face, with the lips and eyes not their usual positions on the face somewhat exaggerated, to explain the disruption in our lives. And if you go in the exact opposite direction, with minimal usage, you can surely be out of the game. Balance their last segment is when you know how much is too much and the Fashion Styling and Image Design students of the fashion college, along with fashion design, played with translucency, muted hues, neutral skin tones, minimal make up with clean shapes, shift dresses, explains Nandita Shah, styling and image design professor at Pearl Academy, Mumbai campus. The shapes are body hugging but the focus is not on the frame, she adds. As the show progresses, some bizarre additions do come up, the accessories for example, the shoes turn transparent with balloons showcasing glitches in AI, ending on a bandaged look, when you have an over botoxed face. The pops of colour emerge and play peek-a-boo, the doll has been dismantled and her various body parts misplaced and added as accessories on the garments. Her legs are placed on the head to show how AI can sometimes distort images. Asymmetry helps drive home the point too—shapes show exaggeration on one side of the body. Balance displays suddenness and texture, the dress made with resin with different artifacts placed on it, is interesting and experimental. The institute known to have churned out some of the biggest names in Indian fashion from Rimzim Dadu to Shantanu and Nikhil among others believes that AI is inevitable and so is its use, it will in the future change the face of design and fashion. This showcase is the initiation of a dialogue and the faculty is equipping students to use AI intelligently. Shubhi Jindal, a third year student of Pearl Academy, from Fashion Styling and Image design , Mumbai campus, believes as a young student who is entering the fashion space, AI has made us lazy. She doesnt like the excessive use of digital printing and admits traditional formats add character and personality to clothing. We should return to femininity and delicateness, I feel that is what is missing in fashion today, it is getting too dark and edgy. Manya Narang, her classmate, adds that fashion college teaches us timelines and deadlines, and with the social media frenzy now one can change the entire narrative. AI is contagious but it can also add sustainability if you know how much and for whom to produce, she explains.
Measuring Up
S and N, the brothers Shantnu and Nikhil have replaced the mini “It” bag and given it to men, in dhotis and sexiness with abundant leg show for women along with dollops of shimmer. While quite the opposite was post-Soviet modest label Measure, which revealed the former Communist country is now embracing sheer, wraps and cowl skirts. By Asmita Aggarwal Tahira Kashyap is a cancer survivor and she is the much better half of the actor Ayushman Khurana, who often croons and gets away by winning a million hearts. This time his wife was in the spotlight to pay homage to Shantnu and Nikhils parents Nikki and Rishi whom they lost recently. The boys growing up were always closer to their mom, at home there was a traditional role reversal, Nikki was the provider, Rishi the caregiver, a truly Modern Family. The LFW XFDCI 2024 line declared, the new dress code for men is dhotis, draped and worn with structured sharp jackets in charcoals. And women too got a bit sexier this time, for the brothers, who got them into corsets, bustiers and shimmer for spring. The lehengas sobered down and converted into skirts that you can wear with cropped jackets, later both can be worn with your denims or a cool white blouse, so S and N understood women like separates, in their case, a bit of extra glam added. Cinched waist, laser cut belts, animal prints, body huggers, the mood was a red-carpet event where you need shine, but you got to make black work. Among the two, Shantnu lets Nikhil do the talking and prefers to take the backseat, maybe thats the reason why this equation works so well and has been for the last 20 years, the older brother allows the younger one to take the spotlight. S and N Men this year, are choosing to wear ankle length pants, while they decided to give women Matrix-style coats, velvet draped saris, silver short dresses with sheer play, but the cool quotient was the It bags or minis were carried by men for a change. You can wear S and N skirts everywhere, to a party, cocktail, mehndi and even a night out with friends, they made it versatile. On another note, the label from Russia, Dagestan, along the stunning Caspian Sea, came designer Zainab Saidulaevas cutting-edge collection TOI brought to India by the FDCI, Measure was an ode to post-Communalism Russia. This season of spring has seen a love of ivory and ebony, as style gurus have discovered its prowess, it is subtle yet impactful, so Measure the label from post-Soviet Russia, introduced us to faux fur asymmetrical draped cover ups, frayed and tasselled skirts worn under long coats, in pristine whites. As Russian designers are making waves internationally whether it is Demna Gvasalia who has revolutionised Balenciaga or his brother Guram, with the label Vetements, Russia has now become a potential market for global fashion business. Designer, photographer, and poster boy Gosha Rubchinskiy was also noticed by Comme Des Garcons as the Cold War never allowed the style world to grow in the former Soviet Union. There is a hunger in Russia which now has been divided into 15 states of the Russian Federation, stretching from the Baltic and Black seas to the Pacific Ocean, as they are now exposed to a new world, Measure is a case in point, the shapes that included tie ups, nattily cut jackets, flowers blooming under sheer layers, ruching and dropped waists, Zainab added fabric manipulation, pillow-esque wraps on shoulders. The only exception of an otherwise grey sky palette, was a bright sea green cowl hem dress. Layering was her mainstay, as well as, the kimono style dresses that caressed the runway, she also used exaggeration in her favour. With cuffs and tie ups bigger and better, she gave women volume, but with restraint as well as quilted jackets.