Upcycled Shimmer
Hyderabad has emerged as a competition to Delhi-Mumbai for couture, even though the lawyer turned designer believes going green can be possible in couture! By Asmitaa Aggaarwal She is a lawyer, who always had an interest in environmental law, and decided to mix her two passions –legal eye with fashion. Upcycling, applique to molten metallics, Aisha Rao, from NUJS (law) to studying in Barcelona Istituto Europeo di Design, IED and then garment construction at Parsons New York, she knew her heart was in making clothes that bring out the vibrancy of India, its unabashed celebrations. Showcasing her line “Wild at heart” at the ICW for the first time, she has said ‘no’ to plastics for a long time, and was in fact debating whether she really wants to work in fashion, known to be the most polluting industry in the world. “Whenever you cut a bias skirt, there was a lot of waste generated, along with this was when we used sequins, bugle beads, bullions on the ‘khaat’. We wanted to find a way to use both these and we did, by upcycling them. I wanted to make a viable business, but reduce carbon footprints,” says Aisha. And of course, a degree in law always helps—specially when recently Bloomingdales sent her a contract she was able to maneuver dexterously. “Brides don’t understand the concept of waste, all they want is to look pristine,” she laughs. Mother of two kids, Aisha often finds inspiration in their stories, like Roald Dahl’s Matilda to Paper dolls, though Indian couture is enjoying the spotlight, with China slowing down–Ambani wedding, Prada introduced Italian version of Kolhapuris, LV embroidered bags. Sabyasachi Mukherjee has stated, he would like his jewellery to not be locked up but worn on linens and skirts. Plus, couture is now functional, not just about heavy lehenga cholis. “We are doing dresses you can wear at your friend’s wedding, the crystal one-piece blouse can be teamed up with palazzos, traditional peacock motifs top this is now your companion to a date night draped skirt,” she says. Couture was earlier reserved for the OGs, very tough for young people to break in, it is also manpower heavy and super expensive, till now Delhi, Mumbai and Kolkata were hubs the South largely ignored. Two designers have broken the glass ceiling and given Hyderabad, a great representation—Jayanti Reddy and Aisha Rao. “I have always loved the Banarasi weave, this year also it finds a representation, in my collections, pure gold zari saris in Kanchipuram. Girls have a mind of their own, they will wear a tiny beach blouse, but mom-in-law still prefers classic woven sari,” she laughs. Her kasavu tissue saree, zari with satins, have done well, for cocktails, to white weddings. “We did sequins overload in the Barcelona line, as an ode to Antoni Gaudi, the acclaimed Spanish architect, I’ve always wanted to tell a story,” she affirms. This season Aisha offers jackets with bustiers inside, a sweater shape you can add over your lehenga, with a smattering of aari work and zardozi. “I’m sitting in Hyderabad, so Bollywood is tough to crack for me, though what celebs wear is aspirational, gets instant results, when a lehenga sells in volumes, it is good for business,” she says. From palms, peacock colours, chintz, maximal flora, lush teak berry, there is a little bit of Aisha in each piece she crafts, “of coursen o lehenga comes within a pocket as that was my pain point at my own celebrations,” she concludes.
Bihar to custodian of Bal’s legacy
Tasnim Fraze, creative director Rohit Bal, brings garden of flowers from Kashmir in Matka silks and poetic khadi for ICW 2025. By Asmitaa Aggarwal It is quite a larger-than-life legacy of the iconic Rohit Bal to carry on his nimble shoulders but Tasnim Fraze, believes, “It’s an honour and a deeply personal responsibility. Everything he created came from a place of love — for Indian craft, the beauty of Kashmir, and the people who bring that beauty to life. I had the privilege of learning and growing under his guidance for over a decade. As Creative Director, my role now is to protect what he built and let it grow, with the hope that everything we create reflects the integrity and grace he always stood for.” His journey with Rohit Bal began in 2013, just after he graduated from design school Symbiosis International University, he began as a young designer in his team and over time, got the chance to be involved in more — from design to the business side of things. “Rohit Bal always valued growth and believed in continuous learning. He encouraged me to pursue further education, which led me to do my MBA at IIM Ahmedabad. That experience helped me understand how to balance creativity with business decisions. But the real learning came from working with him — being in the atelier, working with artisans, and watching how an idea would turn into something special in his hands,” he adds. The FDCI ICW collection called Kash-gul, draws inspiration from the landscape and poetry of Kashmir — especially from Gulistan, which means the “garden of flowers”. This collection connects with shared memory, craft, and tradition. “We’ve worked closely with artisans to preserve techniques that have been passed down over generations. We’ve used fabrics like Matka silk and velvet, with thread work and gold zardozi that add richness and depth. The motifs — peacock, lotus, and rose — were signature elements in Rohit Bal’s work, and they continue in this collection. What I have tried to retain is his sense of elegance and the quiet drama that made his work timeless,” he explains. Tasnim grew up in Bihar, grew up surrounded by culture, stories, and art. Bihar is also the land of hand-woven matka silk, and khadi was a part of daily life. “Being around these kinds of fabrics from a young age naturally drew me toward textiles and eventually, into fashion. Fashion became more serious for me during design school. And everything truly came together when I started working with Rohit Bal,” he confirms. Couture today is about meaning, he believes. Brides are looking for pieces that reflect who they are — not just garments that are heavy or ornate. “There’s a clear shift toward personal connection, craftsmanship, and quiet elegance,” he adds. For the festive season, what always works is a garment that feels intentional — something with clean construction, beautiful fabric, and quiet presence. When it’s made with care and worn with confidence, it never fails to leave an impression!
Choli out, sharara-peplum blouse in: Jayanti Reddy
Banarasi weave interpretation is loved by South brides, for Jayanti Reddy Hyderabad has become a nerve center for couture. By Asmitaa Aggaarwal She comes from the city of pearls, and Hyderabadi elegance, known for her love for Birdi craft that she resuscitated, but in the last 13 years in fashion Jayanti Reddy, may have studied business in US, but at heart she knows couture is her first love. “I was doing one off pieces, heavily embellished for a select clientele, we mixed interesting shapes with comfort. Though the focus has been jewel tones and pastels, with a smattering of gold,” says Reddy. In these years there have been many inspirations—travel to textile art, even using leftover scraps patching them together to create new fabrics. Or woven panels with zardosi threadwork, made into slimmer skirts; new interpretation of Banaras with lighter more gossamer touches. “The lehenga choli is obsolete, it is now the Sharara and peplum with two sheer duppattas, and trail,” she explains. The South has become a hub for brides, the market is booming, it offers originality, variety as well as fantasy, for her Banarasi weaves are best sellers. “Capes, jackets to corsets offer a third dimension, and weddings are a mix of cultures. There is no set template of what will work, we need to keep evolving as brides do and frankly Bollywood wearing a Jayanti Reddy creates enormous awareness,” she concludes.
Barefoot doc of craft: Ritu Kumar
No one can tell one bridal outfit from another. No one has time and dedication in this computer age for crafts, laments Ritu Kumar. By Asmitaa Aggaarwal In the 60s she was the first to do the classic ready-to-wear bridal, as traditional woven saris were the norm, now Ritu Kumar sees a huge change, due to the number of options available in couture. “The palette is not structured anymore, Bengal they still wear red Banarasi, but D-Day hues have a new handwriting of pastels, shapes remain conventional, as Gen Z innovates. There is an introduction of beads, sequins, and pearls, we are doing Europe with a mix of India in couture renditions,” says Ritu. When she began in Serampore (Calcutta), there were no books on crafts available, no one knew about the beauty of Machilipatnam to Ajrakh, but zardozi always found glory. “Not a page was written about Indian textiles, now there is huge awareness about crafts; we are one of the few countries who have retained our luxe heritage. I have worked with some outstanding people in this field-textile art historian Jasmeen Dhamija to Laila Tyabji, enriching my journey,” she adds, saying Martand Singh and people like him were the “barefoot doctors of craft—truly academic nourishers.” In the 70s no one knew about India as for 200 years we were ruled by the British, colonised, they took the paisley and machine printed it on fabrics, sold it back to us, she explains. But true to her craft Ritu took the hand block print to the prestigious Pret-a-porter show in the 70s France, filling the vacuum which she has detailed in her book Costumes and Textiles of Royal India. She is ready for her new book, just finished editing, on contemporary India her journey from the 60s to now. “Our hand block print saris did so well that soon Surat and Banaras started abandoning polka dots and doing hand block prints,” she smiles, adding sequins never permeated into her aesthetic. Interestingly she says, everything in bridal looks the same, can’t tell from the other, made in Farrukhabad or Bengal no one knows, which needs to change. Fashion, she says, must make a social impact, as we have an ingenious handwriting, it is alive on the ramp not in museums like other countries, it is being worn from Lajpat Nagar to Dilli Haat as well as couture week catwalks. “India is an engaging phenomenon, but what I would love to do most is revive the Kani shawl which no one has been able to as it is such a complex weave, like Chintz, my perennial favourite,” she admits. It is so special that it can never be copied! In this computer world, she says no one has the patience for crafts, to understand its nuances, sit and learn. “I am a painter but I don’t know the vegetable dyes used to make paintings—I am just a catalyst, artisans are the showstoppers,” she says. Rinku aka Sharmila Tagore whom Ritu knows since her Calcutta days wore the Begum of Bhopal’s joda, for her wedding to Pataudi wanted Kareena to do the same. Ritu took on the task, 5 months, contacting Mughal emperor Wajid Ali Shah’s old karigars, from Metiabruz (Calcutta) to repair the 300-year-old gold sequins one by one, and get the gold zari woven again that had got torn off. “It was worth the time, and dedication,” she signs off.
Kadwa Banarasi to Alessandra Ambrosio
Crafts have a beautiful narrative—thus, Manish Malhotra can straddle two worlds effortlessly-the glam of Victoria’s Secret, Bebo as Poo, to the craft-soaked Phulkari. By Asmitaa Aggaarwal There is no doubt that Bollywood loves Manish Malhotra and maybe the sentiment is returned in full fervour –so after five years when he returned to India Couture Week 2025, he decided to change the format and not do a typical sit-down show with models in heavily embellished lehengas. A golden sequinned eagle stood watching us all in the corner, with a delicious spread in the middle, free seating, live music, and a studded galaxy of his A list star friends. The surprise was Victoria’s Secret Brazilian model Alessandra Ambrosio, in a pearl-embellished lehenga, as Tamanna and Fatima Sana Sheikh were in attendance, but the installations that caught everyone’s eye or should have were his experiments with Phulkari-titled “Living legend in thread”. “I love this embroidery from Punjab. It is also rooted by my culture, I’ve seen so many in my family wearing this, it is special to me, passed down to the next generation as an heirloom,” says Manish. Bollywood had become an intrinsic part of mainstream fashion with the takeover of the visual media, case in point Insta. Gen Z identifies with the DDLJ movie which is considered iconic for more reasons than one. In 1995, emerald green was not a colour that was acceptable for top actresses who were swathed in pinks and flaming red chiffons, but Manish took the leap of faith, added zari and pleats, and got Kajol, a.k.a Simran to dance, making generations fall in love with this romantic story by Aditya Chopra. He admits “Mehndi laga ke rakhana” still rings true in many weddings even now. And no one can forget Kareena Kapoor irreverence in “Kabhi Khushi Kabhi Gham” as “Poo”, or her moves in “Bole choodiyan” year 2000, where cropped asymmetrical blouse with sharara can still be pulled off in circa 2025. Though crafts play a huge role in the DNA of Indian fashion—the Kadwa Banarasi sari that Aishwarya Rai wore to Cannes many moons ago, woven by artisans in Varanasi took almost six months to make, truly celebrates India in its spirit. “Each motif is woven separately, intricate detailing, skilled artisans can only execute this, no loose ends at the back, these are heirloom pieces. For me Ash would be a perfect muse for this—as she embodies ageless style,” he concludes.
I’m old school, I respect crafts, not Insta: Tarun
Alisha Chinai, Hindi poetry, lounge setting, and 30 years of drapes, kashida, and grandeur, TT tells us in an exclusive interview, he believes in embellishment not excess, style over trends, luxury that whispers at ICW 2025! By Asmitaa Aggaarwal You could see him personally supervising everything at the Oberoi, his football cap and mike on, “remove extra tulips, straighten the carpet, this doesn’t need to be here” as he geared up to open the luxe doors of the hotel for guests to celebrate 30 years in the business of fashion. Mogras in brass bowls, his sister Tina and wife Shalija for support, lounge setting with sofas and Banarasi brocade throws, model Sapna Kumar, a classic face in the industry for almost 25 years began the show. “TT the brand is all me — and all of the world I see, read, experience, and love. Whether it is architecture, sculpture, temple visits, or a fascination with drapes and how fabric falls on the body — it reflects my eye. But it’s also bigger than me. The brand is a collaboration: between design, craft, history, emotion, and identity. I have always seen clothing as a canvas to bring together intellect, sensuality, and functionality in the context of India- the past and our current modern reality,” he adds, about a line titled “Quintessence”. When you wear a TT you almost wear a bejewelled piece, no need for a diamond necklace, just gold zardozi saris with polkis as headbands are enough. He suggests shades of white, off white to butter coloured this season, light and frothy. “The greatest lesson has been to stay rooted while evolving. To honour our heritage, our crafts, our karigars — but to constantly reinterpret them for the times we live in. What has sustained us is not just design, but a deep commitment to precision, garment construction, and creating clothing that empowers the wearer with lightness, movement, and modernity. That has been our constant — evolution with integrity, says Tarun, as always dressed in black with his bundi and sneakers. The backs of his lehengas and cholis, corset style blouses looked as if a diamond crystal necklace swung as models moved, tousled hair waves, accompanied embroidered saris—aari work, dabka to pearl encrusted pallus. The androgynous dhotis men wore with short sherwanis, can be interchangeable, TT ensures in-built glam. But his ode to kashida and Pichhwai interpreted in an ultra-modern manner was befitting. Fashion has an uneasy relationship with languages, especially Hindi poetry, it was certainly a charming touch with a 30-year-old Alisha Chinai Indi-pop song “Made in India” playing at the crescendo. “Couture today is not just about spectacle — it’s about substance. We design with longevity in mind. For us, couture must move, breathe, and be re-worn. Whether it’s a corset paired with palazzos or a lehenga reimagined as separates, we encourage our brides to invest in pieces that they will cherish not just on their wedding day but long after — styled again, worn with joy. That, to me, is true luxury. However, it must make people dream, push techniques, and retain a sense of fantasy,” says Tarun. India has always loved ornamentation and jewellery— from temple architecture to miniature paintings — but there is a difference between embellishment and excess. “I do not think we need to get over embellishment; we need to refine it. I believe in craftsmanship that enhances, not overwhelms. Embroidery should follow the line of the garment, not drown it. There’s immense power in restraint — that is the evolution we are committed to,” he adds. Tarun believes fashion has changed through storytelling — not in a literal way, but through emotion, technique, and detail. His work often references miniature paintings, Mughal jaalis, and architectural motifs — but distilled in a way that speaks to today. “We often say our brides carry a bit of the past, making light for the present. That is the essence of India Modern. A modern bride does not want to be weighed down — she wants to float, she wants to move — and she wants to wear culture with pride, not burden. It is a visceral process, am not quite clear on how it meshes and fuses and emerges,” he explains. Has Insta made fashion frivolous? “There are both sides. Yes, there’s noise — but there is also access. I’m old school — I believe in deep understanding, in training, in respecting craft,” he says. He acknowledges that social media has opened doors. Imagery is powerful to say the least and people can see our craft and aesthetic from across the world instantly. What’s important is to stay authentic — because trends fade. “Real style endures,” he asserts. There is a growing controversy against Bollywood and showstoppers—”I’ve always said — I’m not against showstoppers; I’m against the idea that the show becomes only about them,” he adds. The real stars of couture are the craft, the clothes, and the karigars who bring them to life. That’s where the focus should be. Cinema and fashion have grown increasingly intertwined. Bollywood has an extraordinary reach, and when it aligns authentically with a brand’s philosophy, it can help amplify the message. But for us, the true showstoppers are — and will always be — the garments. “I’ve even had a bit of fun with the idea. One year, we draped a model entirely in fabric and pinned a sign on her that read ‘I am the showstopper.’ It was tongue-in-cheek, but it made the point. I don’t feel the need to do that anymore. The work speaks for itself,” he laughs. He says he would like to change the idea that couture is only for a moment. “I would like people to see couture as something that can be cherished over a lifetime — not just a fleeting Instagram post or a one-day affair. It should be heirloom-worthy, yes — but it should also be alive, wearable, joyful. Couture must find its way back into wardrobes, not stay locked in trunks,” he says. Each season he
Akshay likes ruffled feathers
Bollywood superstar, avalanche of sequins, jazz crooner think Nat Cole King, crystal bustiers, Falguni-Shane Peacock made sure, everything glittered at ICW 2025. But you can wear your boyfriend’s denims with a pussy bow blouse and sequinned tunic they informed us! By Asmitaa Aggarwaal Remember a sitar maestro sitting in a lotus last year with the delicious Vicky Kaushal giving us increased heart beats? That’s Falguni and Shane Peacock, this time too for ICW 2025, the imposing set, looked straight out of a garden in Italy, with two giant white peacocks (befitting) in the middle. And of course, in this heady mix was Akshay ‘Khiladi’ Kumar, in dark glasses and all the right moves, thankfully he did not pull off a gravity defying stunt, but did bend down on his knees, giving us a taste of his usual irreverent fun! He spoke in Hindi, and admitted he is ramp walking after years, almost 12, “mini show but lots of hard work goes on behind it,” exclaimed Akshay. FSP had men with diamond danglers, capes in ink blue were larger-than-life; women flaunting faux feather boas, an avalanche of sequins, it was as if everything was crystallised. They skilfully combined their two loves– sequinned women perched on two stone peacocks, zardosi feathers languidly sprawling on lehengas, if you switch off the lights you can see an FSP outfit from afar. It makes us believe too much shine is never enough, in this invasion of an army of glitter were delicate pearl trimmed veils.The favourite undoubtedly was Archana Akhil Kumar in high waisted boyfriend jeans worn with a fully sequinned tunic and white pussy bow blouse which will soon become everyone’s go it-multiplicity of use. In FSP style, the glowing brooch clinched the tunic as models wore multiple mogra braids, the smell wafting through the Taj Palace Hall. “The way FSP presents themselves is purely international, but it’s made in India. I hope I get another chance to do this again, as I feel royal in my white sherwani,” Akshay added. Shane, with hints of blue in his beard, told us he had investigated so many minute details, but the show stopper was the most important one. Live music always has its advantages—and fashion show veteran singer Vasundhara Vee with a booming voice took charge (she has done shows with Ashish Soni, Ravi Bajaj, FDCI, Sabyasachi). Vee crooned jazz as La Vie En Rose (Edith Piaf), Dream a little dream of me (Doris Day), At Last (Etta James), A Thousand Years (Christina Perri), and L-O-V-E (Nat King Cole) made sure the hints of woven saris got a fleeting representation in an otherwise tornado of embellishments. Singing for the last 30 years the Assamese artist, studied at LSR, English (hons), grandchild of Pramathesh Chandra actor, director, and screenwriter of the 50s, who made the original “Devdas”. “Arts were a part of my family, Pratima Barua Pandey an Indian folk singer from the royal family of Gauripur, Western Assam’s Dhubri district, was my grandma. I think I inherited the love for tunes from her,” she smiles. Though when you sing love on tracks there are challenges versus when you are with a band, where you can tune and keep up the flow. “Pace of models changes, so you must make sure you are in tandem. I enjoy how fashion interacts with music, even though I have always been self-conscious, I did enjoy wearing the FSP shrug,” she concludes.
Amit invokes spirit of Margiela
Fabric manipulation in its finest form, themes from the one directional arrow of “time” to now “DNA”, Amit Aggarwal tells us your old Banerasi and Ikkat can be your new cocktail gown, hand pleated and upcycled. By Asmitaa Aggaarwal There is always a lurking sense of inspiration, the industrial set, music that kind of makes you feel you are transported to a world into the future, slow but steady interpretation of textiles—and of course the Belgian 5, deconstructivist approach to design. Amit Aggarwal had his models’ faces covered just like the Martin Margiela, as he wanted everyone to focus on clothing, beautiful models often taking attention away from the artistry he felt—was imperative to observe. At ICW 2025, one noticed Amit pursuing unconventionality– fabric carved into waves, sheer used only as an accent, play of silver and charcoals, sensual touches of gooey chocolate as if it had melted on a gown-made its way all over as greys played peek-a-boo. By the way, a woman’s back is the most sensuous part of her body now, according to him, as silver mesh was worn inside velvety jackets, complemented with basket weave shoes. The beauty of it all was the gown moved mimicking the movement of the body, its curves, its nooks, and crannies. Amit kept colours at bay, only slight accents of reds and greens, his obsession with fabric manipulation, pleating and architectural shapes was evident. The line “Arcanum” denoting mysteries of the physical and spiritual worlds, also known as “elixir” was Japanese inspired probably what a Rei Kawakubo (Comme Des Garcons) would do, honouring our body’s imperfections, accepting it with the bulges, contortions, and misplaced cowls. The ode to ikkats and Banaras, in subtle purples to tangerine reds, told us our old sari can be your new cocktail dress, as men with minaudiere kept it androgynous, a contrast to the magnanimity of the line inspired by our DNA. You would wear this to a red carpet to make a statement. “We go beyond the last show where ‘Time’ was philosophised as a concept, some of the best stories of our life are written in this singular dimensional arrow. Time makes our stories denote that DNA is internal, we explore what it does to our life-takes us places we never thought we would explore,” says Amit. This year through the 25-minute show he narrated five different stories—Form, shape, grow to evolve to tie in every single tale that moved his soul. “Collections are never made in isolation. It started in my mind, a gradual process, actual pieces took four months, with styling and jewellery six months,” he explains. For Amit, style does not get boring if you keep evolving, pushing the same language forward, as a brand. It started as an inward journey, but soon he narrowed down on his favourites—Ikkat, hand woven upcycled, “creating a new narrative –a kind of benchmark for me,” he adds. The artistry could be seen in how he created water droplets through hand draping, as polymer, his constant companion along with Banarasi, were a runway spectacle. “I wanted the show to have a theatrical feeling, but you will see wearable versions of this in the store. For me sustainability denotes artisans trying to help them elevate craft frankly I’m bored of this question,” he says. For him his reused textiles embellished with hand twisted crystals was a way to show you need to be consistent, as he concludes, “Couture is feeling, an emotion, not just about jewellery and watches. Sustainability is the only way we should be living life.”
Little birdie told me…
Swans as headdresses, garnets, and pearl wraps instead of cholis and of course the iconic ‘mover and shaker’ Helen on Monica Oh My darling, made Suneet accentuate all his first loves at ICW 2025. By Asmitaa Aggaarwal For many years one has noticed “dancing designers” the one famous for his enviable moves, Rohit Bal dressed in Jodhpurs and a crisp bandhgala has passed onto the next world leaving behind a mammoth legacy, but Suneet Varma is carrying forward that baton at ICW 2025 with his line “Sehr”. Of course, in his inimitable style— on Jaane Jaan dhoondta phir raha with Bebo’s moustached father Randhir Kapoor and bouffant Jaya Bachchan in the 70s hit Jiwani Diwani. Somehow red is taking a backstage in couture making way for white the “it” colour for the season–sometimes no colour is the best colour. Suneet’s ramp is always reflective, of shine, he is never apologetic about it– pristine white lilies, swans and white palms with sparkling lights took a bow. When you are around as long as Suneet, with ocean like experience – legendary Yves Saint Laurent to Judith Leiber, BMW, interiors, you know what works in a market that can’t get enough embellishment. Indians by DNA are celebratory, it is an inherent part of our cultural ethos. His love for old classic Bollywood songs is apparent, little birds were flying on headdresses, complemented with sequined gowns accentuating every curve of the body—visualise black, gold, boas, faux feathers. The dupatta hangs on nimble shoulders, though by its own willpower, it has got thinner, bulk reduced—just like brides don’t want anything that restricts their movement. Remember Samantha Jones in Sex and the City, played by Kim Cattrall with her unwavering loyalty to beaded bustiers, dripping flirtatiousness and bold pink flowers? Suneet kind of had that spirit of exuberance and nonchalance. Interestingly, shararas with zardosi on the notes of Monica… oh my darling took us back to Helen’s winged eyeliner, midnight blue eyeshadow and tiered ruffled dress, Suneet gave it a modern interpretation with gotta-patti style choga kurtas. Pearl wraps instead of cholis, exaggerated sleeves, gold has always had a hold on occasion wear, everyone’s favourite polkis and jadaus were crafted into a blouse, as if you are wearing a necklace around your bosom with pearls dancing on your back. Star daughter Riddhima Kapoor Sahni seemed comfortable on the catwalk, she exclaimed, “18 years ago I made my debut with Suneet, I’m here again now.” She also twirled for us, as Suneet clarified, “I live in my dream world –set, music presentation is part of who I am, obsessed with romantic music. Tried hard to change it to English sonatas but I can’t do it. This feels natural to me. Fashion is all I know how to do. I like to excel but in a non-competitive way. Thus, there is always debate on if this embroidered rose needs more crystals or whether sequins need better placement,” confesses Suneet. This season- isn’t about reds and rani pinks but lilacs, greys, and obsidian blacks, the shararas is the queen of silhouettes now, tighter, flared, Suneet took it a notch up with semi-precious garnets!
I have a child-like curiosity: Rahul Mishra
In a freewheeling chat, Rahul Mishra talks about his deep connection with spirituality, Trikaldarshi Brahma, his Paris Couture Week ‘Cityscape’ and ‘Crow’ ensembles, why Bandhani is important as we revisit the present while keeping the “rear-view” mirrors open to pay homage to the past. By Asmitaa Aggarwal He did create a buzz with Gen Z favourite Jahnvi Kapoor getting out of a Nexa, with paparazzi following her, a group of photographers, an event she handles almost every day bravely, they follow her. The set was rear view mirrors, almost 50 of them lined in the show area, as the yesteryear beauty Parveen Bobbi iconic Raat Baki from Namal Halal played in the background. Cutwork jackets, patchwork denims were interesting, some Issey Miyake style, space suit sleeves, and in this mix was Mithun Chakravarthy iconic moves on “Jimmy Jimmy aa ja” and Sanjay Dutt’s rehearsed steps on “Tamma tamma Loke” as the background score. Rahul Mishra and his quiet but impactful wife Divya, presented their line AFEW, at the LFW X FDCI showcasing for the silver jubilee of India Fashion Week, with exaggerated shoulders, big bold flowers, in sequins of course, pants came covered with net. The eye grabbers were exaggerated waists a bit like Comme des Garçons but his interpretation of Bandhani was engaging, in above the knee dresses with exaggerated shoulders, sleeves and bows. The check coats, his continued love affair with flowers, padding and bulges, appliqued hens on jackets, with golden paws, as well as Matrix style black floor length coats explained his love for the unpredictable. “We discovered Henri Rousseau (French post-impressionist painter) work which is on display in this collection as well as the art of Pichwai, but my belief is when you want to create something new you have things which are old like Bandhani. It is like you are driving a fast car, but you have to keep looking at the rear-view mirror to see what you are leaving behind. Crafts become the idea and you create a new version of it,” he says. He took many cultural references from the Silk Route, the products are deeply rooted in traditional craftsmanship. AFEW used painterly old motifs which were found when the Silk Route started, then thrived. “Silk route was an exchange of art, culture and motifs; it was not just about trade. This collection looks at various ideas whether it is from Japan or the Kutch region,” says Rahul. So you have Tanchoi or what Rousseau has done, but in the collection, there is a simplification of all those ideas, few find their own relevance. “Something which is easy, but beautiful,” he explains, adding, “My mind I feel kind of works way too much in multiple directions. Stargazing late at night using my amazing telescope which is the most scientific portable telescope available. I keep wondering about life and cosmos, I also read the Gita, try to connect wit myself. I observe insects–amazing creatures. My mind is never quiet, I am always thinking, maybe I need meditation. I feel I have more ideas but less time,” he smiles. He admits he is sensitive about his surroundings, especially of news. “It lives rent free in my mind. Divya tells me sometimes thoughtlessness is needed, I am sometimes absent minded also. I’m dreaming and thinking. Thoughts entangle me. Maybe it’s not the best thing, but it is a big fuel for finding new ideas and perspective,” he explains. Fashion is quite personal for Rahul, it is about his fears, experiences, tales, dreams, and it comes as an inspiration, out of an observation. “I share my ideas with the team. The way the human mind works is amazing. I can see the person, who is creating an artwork, how it comes from collective thought and dream into an entire garment. I think trends are the most overused ideas. Humans try to discover patterns in almost everything. If it is constellation and trends are based on human emotions, trends are powerful things, but I don’t care about them. I feel like there can be micro trends. The globe is one–generation on Insta and is savvy with technology. People get influenced very easily with choices,” he confesses. He believes the addiction to social media is so deep, that we are making free choices we feel, but we aren’t. “When you look at today’s world nobody can escape –we are victims to ideas and losing cultural identity as trends are strong,” he adds. The magnificence of his creations for Paris Couture Week, can be seen in the way he has constructed a “Cityscape” ensemble, because how cities are now it’s not about how much time it took, but how big skyscrapers made him feel. “No one can escape trends, it’s impossible. The Crow ensemble is a thought I was living with for a long period of time. It was a trigger point for me. Cityscape, when I look around to see how we have made concrete jungles,” he explains. Crows are scavengers, it became his leitmotif after his father passed away, “you look at everything. You render the bird–it looks realistic and fits into my story telling. These hits and trials take lots of re- improvement–it is not linear, and takes a lot of time. It is an attempt to showcase artistry at its best,” he says. If you look at his Insta page, he tries to add a series of celebrities— from Priyanka Chopra and her daughter’s beautiful moments to singer Shreya Ghoshal whom he “finds amazing. We pay respect to all regions of the world; we fulfil all requests. Whether it is Liza from Thailand for her first performance, Queen Latifa for Grammy, Mindy Kaling, Fan Bing Bing or Poorna Jagannathan. This is not our focus. We are very humbled. All celebs are global — Indian or Chinese,” he adds. Rahul is also a man of collaborations–Tod’s was happening for a long time — it was a right fit. Italian and Indian handmade craftsmanship; it was sold out even after the pricing has gone three times