Game of Time
Amit Aggarwal serenades the impossibility, linearity, unpredictability of time and maybe tide, through his show as the past (cotton) meets the present (nylon), through his newly created fabric this season for Hyundai India Couture Week 2024. By Asmita Aggarwal When I watched the Amit Aggarwal show at the India Couture Week 2024, I felt a sense of connectionas if it was inspired by the film Matrix only it was reloaded this time! Remember Keanu Reeves and his cartwheels in the air? His battle against time, the film was inspired by Gita, and time travel? Well, Amits show was a bit like that! What I also liked was the fact that he got his admirers not for the catwalk but in the audience like the delicious looking Abhay Doel, a rarity on the ramp and in any fashion space, Dangal star Sana Fatima Shaikh, as well as Kritika Kamra. The set for me resembled a strand of human DNA, considering Amits love for science, I also admired the fact that he has a distinct and growing clientele loving his manipulations on fabric, in an embroidery and embellishment obsessed country. The garments moved with the body, almost in sync despite fervent hugging, it felt it was more of an artistic expression, and truly couture as he pushed the envelope. Amit ingeniously cut moulded fabric, the jackets for men with splatter of candle wax inspired embroidery were interesting. The older model is coming of age, a must for international shows of Dries Van Noten to Issey Miyake, age is now not definable, it is not a barometer of judging your ramp walk worthiness. The advent of reds and velvets for men further added to the spectacle. Amits Instagram is flooded with videos showing his journey to the Kabutar bazar, adjoining Chor Bazar, where he is scouting second-hand denim, sourcing fabrics that can be toughened, reused for his couture line. At the risk of exposing a slice of his personal life, Amit Aggarwal, admits going to bazaars has been a passion since his college days— a Sunday treat. It is entirely true that pegs of inspiration, untold stories lead to creation, among the many treasures that Amit finds, there is a particular jacket that has brought him joy, he is recycling it. This is besides the pre-owned Banarasi saris, he picked up to create updated versions adding his labour-intensive techniques cording to give it a fresh form. Remember the Patola upcycling he did for his brand Am-it, or how he dressed Priyanka Chopra Jonas in the Banarasi Navrangi saris, upcycled. Technology and science have been a part of his thinking since he began, more than ten years back, even a bit of biology and physics. Through the iCloud line that told us how much waste we store in our minds. It is imperative for me to try something new, or I will never know where the loopholes are. I am ready for that 15 minute of scrutiny at ICW, at least I tried, he smiles. There is always an emotion his clothes strike within the wearer, it comes with a wealth of material explorations, has a distinct brand language, making one-of-a-kind clothing, cant be replicated. His experiments this season, is creating a new-age fabric by mixing organic cotton, and nylon, on the hand loom. It offers fluidity, drapes, has a glass-like texture, but when it caresses your skin, it feels like cotton. In bridal, storytelling is the inception of thoughthe hopes to strike a balance by collaborating with faces who have engaging narratives. Never should there be an overkill, each piece must have a mystery, says Amit. A rose even when the petals fall off, remains one so couture should expose a sheer behind a layer, and as a couturier you must know how much is too much. Bridal for Amit is that one moment when you share bigger dreams with someone else, it is not just about wearing an embroidered lehenga, “it is a celebration of commonality. Thus, the show is moody, it transports you to a different space, explores recesses of your memory, through clothing which captures an experience. Showstoppers, a potent part of a couture week show, Amit believes some collections need a spokesperson and some dont, I dont believe in face value, he laughs. The ICW 2024 line is based on the concept of time which is represented through —science, religion, cosmology, and philosophy. Time has been looked at from a variety of angles, life is a game of time, he admits. Banarasi emulates the eternity of time, life after death; beading is about living in the now, little glimmers in our journey; how the beauty of a star is represented through the supernova, since its inception. The craft and new materials explorations represent the linearity of time, when today meets tomorrow, he explains. Time is a bit of a sorcerer, if you go by Einsteins Theory of Relativity, and quantum physics. The last concept is how time also sets an equilibrium, and it ties into the existence we know, he adds. It was in 1998 during the DD days when B R Chopra had everyone glued to their TV sets with his retelling of the epic Mahabharat, and there was one line that stayed with everyone, Main Samay hun the whole story was told by time.
Valaya’s Flying Carpets
From embroideries inspired by Mughal miniature paintings, big, broad embroidered belts cinching Sherwanis to reinventing the humble shalwar, cherry red lehengas to lighter chevron palazzos, J J Valaya redefined bridal wear. By Asmita Aggarwal It was the music directed, produced by Sahil Vasudeva, at the J J Valaya ICW 2024 show that accentuated the embellished capes and chevrons. Music can make or break a show, this one featuring Mahima Dayal (vocals), Kartikeya Vashist (flute), Tariq Vasudeva (spoken word), Suhel Saeed Khan (sitar), and Makrand Sanon (percussion) revved up the line titled, Muraqqa, an Arabic word for meditation. We sat in a pitched tent, surrounded by vintage carpets, with the sound of the desert instrument Oud playing, couture is really a mood. Sahil, played the piano live, even though he studied maths and economics like a good Indian kid, in Ohio, music was his calling and the show was a tribute to his father who passed away a few months ago —a person who always supported his dreams, got him private tuitions in classical piano, sent him to Delhi School of Music. You could see the prints on JJs lehengas inspired by Persian carpets, that spread like paintings on the runway, looking like you have entered a Turkish market, on a rainy Delhi evening. The aged metal embroideries seemed to be in tune with the desert theme, a Bedouin tribe, though Valaya, also gave us options of lighter printed palazzos with cholis. Saris came with capes shimmering with zardozi, on Rumis verses. Supermodel and model trainer, Laxmi Rana opened in a nose ring, and Valayas signature– a leather belted sari. The chevron safas, Mughal motifs, didnt channel softness, rather everything was extravagant. Valaya heralded the return of the salwar— updated, printed and narrower. The idea was to take us on a journeyPersia, Turkey to India; thus, the tribal music. Sahil used an African song and wrote Khusrows lyrics on it. The show was punctuated with a waterfall, thunder, and desert storm, they created a Devdas style character, who is pontificating on life, high on spirituality. He leads you to India, thus the show ends with Chaap, Tilak says Sahil. The Oud is a string instrument, the mothership is from where the sitar originated, Sahil did the composition in just five days, and improvised six minutes of a show to time it with the catwalk. In a live show you have to sometimes play catch up, and make up music on the spot, he says. Valayas big, broad fabric, embroidered belts cinched sherwanis, lehengas interestingly came with capes. Deer danced on lehengas, the entire forest frolicked on them too, the embroidery looked as if it walked out of a miniature painting. Handkerchief-shaped sherwanis were engaging, there were Patiala salwars for men and of course, the ceremonial red lehenga.
Dolly J’s Midas Touch
Body positivity, 3D motifs and inventing a new fabric, which rustles like paper but is organza, made Dolly Js ICW 2024 show, feel like a bouquet of roses. By Asmita Aggarwal Actor-turned-politician Shatrughan Sinhas wife Poonam, came to support her newly married daughter Sonakshi, in a woven sari. The set was a set brimming with roses —arches lined like a maze. Body positivity has always been important for me, and this collection is for young brides like Sonakshi, she is my muse. For me, it was a happy collection, says designer Dolly Jhunjhunwala, who introduced teals, mauves, and lavender in keeping with the mood of easier hues, at the ICW 2024 in a show titled La Vie En Rose or life in happy hues. The just married Sonakshi exclaimed, Any girl would love this — it is feminine, divine, and glam. The live music by singer Rachel, I was groovin to her beats. Im not a pink person, but it takes vision to put me in something like this. Today, it is my colour. Though I love red, white, pastels, yellows, and my all-time classic is cream. Sonakshi, dressed in a curvaceous pink gown, is not one to mince words, and admitted at her wedding, trendy is what I wore— a red woven sari, simplicity will never be out of fashion. What Dolly gave me is comfy, I can breathe, move around. It took me exactly five minutes to choose my wedding outfits. I wore my mothers sari and wedding jewellery for the court signing. Me and Zaheer are not fussy people, she laughed. She adds, she would like to wear something that makes her feel good from the inside. Flowy and feminine. Though for my bachelorette party, with the Sona Mandi theme I wore an Anarkali, the outfit spoke for itself, she added. Lilac gowns with leg show, burnt maroons with embroidered bodices, Sonakshi sang Love me by Justin Bieber, along with the live crooner Rachel, next to the piano, on stage, and said, Today, I am pretty in pink. Everything had a Midas touch -gold, boas, cutwork blouses, Dolly admits her signature remains gold/silver, plus, the love for colours, has been quite vividthis year the theme looks like Cinderella reloaded, more like once upon a time, whimsical for the India Couture Week 2024. Florals remain a constant, easy light shimmer makes movement less restrictive, India is incomplete without bling, she admits with a smile. This season, the innovations range from developing a fabric, which has the feel of paper, but is organza blended. Clothes I design are not very Indian in their shapes, says the self-taught designer. The motifs are 3 D just as she likes them, only bigger and bolder, with peacock feathers, incorporated in the iconography. Mostly, cholis have gone risqué, but this time, Dolly has wooed the ones, who like to keep it traditional, fish cuts work well as well, as gowns and fitted skirts. Brides have stopped hoarding clothes they want to wear and use, but the buying is timed, according to the occasion and season. There are fitter bodies, so they desire sculpted clothes, she adds. Her repertoire has faux feathers for glamour, bustiers knotted at the back, sheer as well as gowns with pockets, not forgetting functionality. Pink has been a bestseller and this time, Dolly tried a bit of teal, even though that was not her design vocabulary, though she hasnt bid adieu to hot red! Dolly Jhunjhunwala, has earlier paid a tribute to pearls in her line Basra, won over Sachin Tendulkars daughter Sara with an embellished draped sari, emboldened with thread work in gold as well as sequins.
Kunal pursues Patolas
Kunal Rawal introduces Patola-inspired weave for grooms, turning tables on traditionality; he serenades us with denim dhotis, and comfort, to make sure reusability, and functionality co-exist at ICW 2024. By Asmita Aggarwal Remember Ranbir Kapoors hybrid dhoti, well, Kunal Rawal is the one to take risks. Even though he is young in couture, he believes he has found his feet, and often says, India is 14 countries in one the craft is diverse, and so is the market. We are a country of celebrations where marriages are auspicious, and grand, so why shouldnt couture be personalized, to suit the psyche more than the body type? Star Arjun Kapoor may not have the abs like the rest of the Bollywood toned gang, but he does have a winning attitude, whether it was giving up his seat for a lady during the show, or posing freely with his fans, he has no starry airs. Well, Aditya Roy Kapoor, is a different ball game he is suave, unshackled and seems to have fun in whatever he does, he was the ideal showstopper for Rawal. Kunal gave us mogras, the sweet smell wafted through the hall, and cushions to sit on, creating an oasis, with birds chirping and greenery. In his unique style, the show began with Gurmukhi, and then it was raining men —bearded, wearing earrings, kundals, ponytails, turbans to delicious curls. As Kala Doria played with IP Singh and Akshay Raheja, women walked in sherwanis armed with silver-edged swords. The turning of tables wasnt restricted to just shapes, Kunal convinced Aparna Bahl, the choreographer to take the cue and walk the ramp. Kunal got older, bulkier models in dhotis, he does know how to add drama, music played a big role in the presentation which had everyone foot-tapping. Culturally couture is the richest, and GenZ demand a hand-crafted product, which has a fresh thought, can be reused, has real value, comfort, of course, is king, says Kunal, adding, couture is mostly looked at for women, men were never in the game, only for the last few years, there has been a shift. Menswear, he believes, is a specialists job, thats why he admires Rick Owens for his ingenious concepts, and what Alessandro Michele did for Gucci, almost giving it a new identity. Men have clarity, are strong minded, they are loyalists, now unlike earlier, they take a keen interest in what they want to wear, he admits. For ICW 2024, the overall theme revolves around union of two minds thus, the title Sehera, the science behind auspicious dates intrigued Kunal. You want to make sure, a marriage has positivity, good energy, and favorable omen, he says. Thus, his motifs are inspired from this sentiment — betel leaves, evil eye, coconuts, wedding are soaked in a robust layer of culture, they have a distinct spiritual side. To fructify his thinking, he has come armed with a treasure trove of textileshis most potent armour is the Patola-inspired, hand woven, weave, traditionally women have loved. He has delved into Chikankari for the first time, brocades, and Bandhini are all time favourites, he created unique block prints, used silks and Ajraks to craft safas to stoles. For me, a line is successful only if it is comfortable, he adds. You can see how effortlessly his deconstructed sherwani works, or Patiala, breeches, pants are done in stretch, linings are sweat absorbent, fabrics weights are lighter, and come with an exquisite fall. The paneling in the bandhgala, is cut closer to the body, making way for exciting shapes. There is no cookie cutter method we follow, it is all about pattern play, he admits. He works on technicalities, jersey sleeves add ease in movement, he urges grooms not to go in for a mannequin look, but customize it. Taking it a step further, there is personalized lining on offer, cusping used to join pieces together, ensuring smoothness in wear. When I started, I felt there was a uniformity in menswear for weddings, the product was boring, men were dictated how they need to look. Now there has been an evolution, he explains. Personally, he admires drapes, but has only attempted a few, this time he has dhotis, even though flares are in trend, Kunal has not worked with them. He introduced nifty dropped crotches, six types of Aligarh shalwars, in modern iterations. Everything comes with lots of pockets, he reiterates. After design, music is his love, this year for the ICW 2024 show, he created five new tracks, he believes storytelling in the format of weddings excites him tremendously. Aesthetically groom wear is altering; hand crafted products are being appreciated. As a designer, I feel fortunate to be able to access varied textiles, seeped in history, he concludes.
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
Princess of style
Niloufer Khanum of Hyderabad was the OG of fashion influencers with her Westernising the sari, adding exquisite pearls and it is this regality that Anushree Reddy recreates in organzas this season for the bride who chooses subtle shine over overt bling. By Asmita Aggarwal It has been a ten-year long journey she considers herself lucky that she does occasion wear, which offers both consistency and continuity and according to a CRISIL Research, the Indian wedding and celebration wear apparel market was estimated to be approximately Rs 1100 billion. There is no adapting to drastic changes as this sector is robust and it has the unique ability to service itself all year round with the myriad players in the fray. Being in the business you must be aware of all its time taking aspects—marketing, styling, shoots, everything matters to remain relevant to an audience with shifting tastes. As her forte remains floral prints, Anushree Reddy, felt this USP was soon replicated by competition rather swiftly as the designer landscape has similar products, but today her distinct ethos differentiates her from a sea of also-rans. Her price points and product quality are synonymous, plus having different ventures gets you diverse wedding shoppers. The zardozi, cut dana, threadwork, pearls, always serenades someone looking for somethingwhether it is the mother of the bride, the bride, the extended family or cousins. The awareness that a bride brings today on the table is unprecedented. She may be simpler with fewer elements and bling, but she knows exactly what she wants, admits Anushree, adding you cant get away with what you showed last season. This year is a year of pastels and soft pinks, plus no one is asking for the once staple red with its diminishing popularity, but what she does do is make each piece versatile and personalised. If the lehengas is heavy the second skirt will be much lighter so that she can dance the night away, no one wants to feel restricted. Inspired by Princess Niloufer of Hyderabad, who Anushree terms as the OG of fashion influencers she narrates the incredible tale of the Turkish princess, married to a Hyderabadi prince. The dazzling beauty of Princess Begum Niloufer Khanum Sultana Farhat (1916 1989) was one of the last princesses of the Ottoman Empire and was married to Prince Moazzam Jaah, the second son of the Nizam of Hyderabad, so it was natural that Anushree dipped into the citys history she was born in. Many museum runs later and armed with catalogues and photographs she embarked on paying a tribute to this long lost beauty. Known for her sarees and jewellery, the princess was photographer Antony Beauchamps muse, and was credited for adding Parisian grace to the Indian sarees which were made by Madhav Das in Mumbai. She loved chiffons and crepes, and wore them often with a broad woven Banaras brocade border. Niloufer was the woman behind the term Indo-Western as her silk saris came with lace frills, and an abundance of sequins made by even Lanvin in Paris. Custom pieces came from Indian weavers, and till today her wardrobe is still studied by fashion students. Her collection of sarees are now treasured at the New York Institute of Fashion Technology, explains Anushree, alumnus of the London School of Economics. The 2024 line by Anushree pays tribute to the grand embroidery that the Princess loved, in silk, net and tissue, with pastels and exquisite embellishments. Her sari sometimes was designed in France and then when it came to Hyderabad, she had it embroidered by Indian artisans, adds Anushree who studied vintage photographs almost 100 years old and recreated the magic of her pearls embellished organzas with vintage flowers blooming on diaphanous saris. Interestingly, thats not all that Anushree is busy doing, she recently launched get wedding décor company that takes forward in inspiration and style what her occasion wear entails. So, the panthers and bright florals are replicated in her décor company that she believes is an exciting vertical to her already successful business. The visual language is the same, and it really gives me joy to be a part of the celebration. Not just designing but also taking a leap of faith by deciding the theme and concept of each function, she concludes.
The War Within
Bomb blasts, barren land, soldier writings on walls and stones, how war destroys the fabric of mankind and its futility has been beautifully mirrored through deft stitches by Sushant Abrols label Countrymade. By Asmita Aggarwal From writing poetry, to working with 8-10 needlework techniques, using imagery of his late Air Force pilot brothers life-from plane fuselage to the Morse code, Sushant Abrols label Countrymade, launched in 2019 is an homage to ingenious thinking. At 33, Abrol has won the Nexa Spotlight, without ever giving up hope, even after he faced several rejections, this is thanks to his upbringing, where challenge is part of daily life. He is delighted to get a solo show, a task many veterans have been unable to achieve, complete with 30 looks, after all he is just four years old in the industry. He was clear, he will launch unconventional menswear, but not slide into the comfort zone of ethnic offerings, even though this space is till evolving. Menswear doesnt work like womens wear, the former like to touch and feel, desire right fits, and to get a repeat clientele, you need to understand and customise, says Abrol. A believer in slow growth charts, building on a strong foundation, albeit consistently, is his motto. Without spending on PR and marketing, he refuses to overexpose the brand, neither has he tested the choppy waters of influencer marketing. I havent evolved with the insta-creator economy, it has been a personal choice, he smiles, adding he wants to still stay relevant even when social media craze wanes. This is even though naysayers advise him against his decision, stating he is losing out on opportunities, but his buyers are matureartists, musicians, and architects, who come to him for elevated basics, so you do not need a Uniqlo in your life. From a distance you can tell its Abrols clothing, and it is nothing like the designers he was trained under from Rohit Bal to Jyotika Jhalani of Janavi. Though his mentor, has always been the inimitable Shahab Durazi, whom he was curious about, often called as the Armani of India. I travelled to Mumbai, met him and since then he has guided me, I always share my progress with him, says Abrol. Just like he read Vanguard, a book written on the architect of Indian fashion Rohit Khosla, by his sister Rohini. The core of this brand rests on stark neutrals, hand done embroidery, he mastered neatness, modernised khankas, refused to do animals or flowers motifs, the inspiration is intangible, like poetry which turns into art forms. Using off white threads for his embroideries, chanderis and pure silks, matkas, katyas, as well as linen, prints over embellishments is his lexicon. Men want to repeat clothing, but I see some reluctance when it comes to embroideries even though we do a lot. They are only now exposed to the beauty of woven and knitted offerings, earlier it was only checks and stripes, he says. The feeling is if it is worked on, it is feminine. Everything Abrol indulges in, comes from a personal space, even if you look at the name Countrymade, it conjures up images of hooch, liquor, or arms, but that is not what he believes. It refers to things made slowly, by hand, a labour of love, a small cottage industry, where there are no industrialised processes. In 2015, he applied for a scholarship to study at London College of fashion, but didnt bag it, little did he know that it would be a blessing in disguise as his label today is for a discerning few who value his craft. His brother remains the central character in all his collections, even the latest, titled No Mans Land. This is based on the letters he received which have been preserved till today by his mom, and when he sat down to read them again, he felt a profound sense of loss—-revisiting the pain. The letters would come with a tagline Confidential meant to be opened only by Sushant, this was today playing in the background when he saw the Russia-Ukraine war on TV. The questions that emerged were What are we fighting for? capturing the odyssey of a soldier reflecting a personal battle ensuing within. I believe in dialogue, as humans we must find a common ground, how soldiers feel after war, when he views the destruction, is my inspiration, he confirms. The line presents this dichotomy and internal confusion through clothing specially Gond art, where the stitches reflect the tyranny of barbed wires and train tracks. The extensive R and D was done viewing thousands of war imagery, from barren land, scribbles on stones and walls by soldiers wanting to vent seeing the inhospitable surroundings, that saw kantha stitches coming into play. On stamps that come on inland letters were used to show the communication, Abrol embroidered them, the detailing of thought by Countrymade is quite engaging. He created artistic impressions of trees, rivers, and mountains in no mans land, indulged in line drawing, gave a birds eye view of farmland through embroidery, the line is replete with symbolism. Bomb blasts are also shown through stitches, even capturing how stones fly with impact, I think the idea was to depict the futility of war, I hope I have conveyed that effectively, he concludes.