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.
Tara Sutaria swathed in gold
Organza-lace saris, to jewel tones, Isha Jajodia’s Roseroom, channels femininity to self-love and frees you from weighty embellishment as her 18 k gold plated corsets tell us heavy metal is in! By Asmitaa Aggarwal It was a set that kept the mood light and frothy—white, lace, dimly lit, as velvety carpets channeled luxe along with silver candle stands gracefully placed. An army of eager cameramen, pouts, sea of kitten heels, Herve Leger style bodycon dresses, off the catwalk (there in), gave competition to the dainty lehengas armed with sporty jackets, capes, gilets, and a whole lot of quiet glitter that Isha Jajodia gave us for ICW 2025. Bonus: there isn’t one way to wear a lehenga, and yes you can add a little drama with lace trails and charming pearls dancing on lehengas. Isha decided to give us doses of time travel, with 20s flapper dresses with swinging beads, flaming reds, draped skirts moved around lithe thighs of Archana Akhil Kumar (she’s a timeless beauty), and corsets sat around toned bodies. In this subtle mix was Bollywood beauty Tara Sutaria preening, looking delicious in a gold corset. “I love lace and white, corsets are very flattering, they make me feel feminine and elegant,” said the actress. This one took five months to make, and declared that a modern bride is very cool, ready to break norms. Your dreams of being swathed in 18 karat gold plating has come true! Corsets, made in Paris, designed by Isha Jajodia, known for her love affair with hand woven lace is giving intrepid women a taste of heavy metal. With changing ideology, couture is adapting—femininity, romance, drapes have become the frontrunner of expression winning over the earlier heaviness of zardozi. “Whispers of love” is Isha’s ode to self-love, the woman she was, to the woman she is becoming, kind of notes to herself. “It is a line born out of love and longing, as I am at a time in my life when I am at ease with everything,” she smiles. For ICW 2025, she confirms things happen, as they are willed, a divine timing unfolds, thus you can see the softness yet strength in the line, as some pieces have no embroidery. With her travels to Paris, Hong Kong, Dubai, she only fell deeper in love with timeless pieces that can be worn as heirlooms. “It has taken us six months to create corsets, gold with ivory pearl embellishments, almost elevating them to a piece of art, speaking intricately,” she explains. Corsets enhance a woman’s curves, you can wear them with almost anything-dhoti pants, palazzos, draped skirts, lehengas to traditional saris. A vacation picture taken ten years ago, of an intricate door carving found its way on to the corset, in Paris that she revisited; even though she fails to recall the decadent palace, the memory of it stays alive. Organza silks and chiffons, can express the story of pastels and jewel tones, but Isha says clothing needs to be ageless. She has an advantage—her son is 19, to her husband’s children in their late 30s, her friends in their 40s give her enough exposure to varied tastes. “Comfort even in occasion wear is primary, you can wear a skirt not a lehenga later with a tuxedo jacket. Now there is multiplicity of use,” she explains. Her gowns with bustles, extensive use of boning on skirts, head veils complete the look for a chic modern bride. “I design for a bride who is self-assured, doesn’t shy away from expressing what she feels,” she adds. With the influx of Instagram, its far and wide reach, brings with it the definitive celeb angle, even though she believes a showstopper is overhyped. She chose someone who is from South Mumbai, not so much in the news, has quiet elegance so it worked well. “Anything an actress wears works, like the ivory and ice blue gown on Jacqueline Fernandes still does well, or the minty hued pre-draped, organza-lace sari with an embroidered bralet, as well as the introduction of red-hot pink this year,” she affirms. The digital invasion gets at least 30 to 40% business, especially from social media, even if there are 20 orders a month, it makes good business sense. Though couture needs a more hands-on approach. “Insta has really upped our game, we have orders from different parts of the world, recently one from Bermuda, most unexpected,” she concludes.
Khadi Sutra
His take on the South Indian Mundu with the woven border kara, pleasing monochromes, delectable stripes, and restrained shine, just like the couturier Rajesh Pratap Singh was befitting at his first outing, redefining luxury at ICW 2023. By Asmita Aggarwal
Artist at Work
No artificial intelligence here, just plain, old techniques that still capture the essence of luxury, controlling materials which have a mind of their own is Rimzim Dadus specialty. By Asmita Aggarwal
Elegance in motion
Even though nothing is for Eternity, in this ephemeral human world, except change, whether it is love or integrity, Tarun Tahiliani proves, it can be, with an unmatched ode to elegance, in his distinct style, urging us to love and relove at ICW 2023. By Asmita Aggarwal
Layering Thoughts
Vedas to swishing sculpted gowns, Gaurav Gupta can make the twain meet, just like his showstopper Jahanvi K., whos hybrid heritage makes a winning statement. By Asmita Aggarwal
Floriography
Varun Bahl believes couture must appeal to a woman who is aware, responsible, and wants to be original in thought and choice of occasion clothing. Though his love for flowers remains constant, just like his passion for monochromes. By Asmita Aggarwal
Romantacy
From friendships to shine, Suneet Varma is a bundle of commitments and never shies away from either risqué bustiers, nor fiery reds. By Asmita Aggarwal
Wooed by Nostalgia
Couture reflects changing cultural norms, Ritu Kumar, and son Amrish, believe fine craftsmanship and customisation makes this genre a powerhouse. By Asmita Aggarwal
Royal Hues
From the Taj Mahal, Shekhawati, Qutab Minar to the banks of the river Sabarmati and the historic Port Jail in Goa, the FDCI has effortlessly paid a tribute to traditional techniques, by synchronizing them with presentations at unforgettable heritage sites. By Asmita Aggarwal