[1]Presentation ru-led supreme on the third day of the Lakme Fashion Week bonanza. The throbbing beats of a wedding band at the dawn day three, made the perfect preface for designer Masaba Gupta’s Indo-Western collection. However, she was not done yet. As models demurely walked the ramp, the pulsating beats of the cult track choli ke peeche, which immortalised the designer’s mother Neena Gupta, set an apt tone to showcase Masaba’s festive collection.
The colours ranged from large doses of canary yellow, off set with vibrant hues purple and blue to rich black with red and golden embellishments. Her choice of fabrics was a mix of georgette, crushed silk and net with all kinds of silhouettes. “My collection speaks the mind of the thinking bride of the 21st century, one who is adventurous and is not scared to experiment,” said the designer.
Masaba’s tone of new age Indianness seamlessly progressed into Purvi Doshi’s glamorous rendering of the rustic charms of our country. Interestingly titled “Bheed Bhaad” her line was a mélange of different colours, shapes and forms that saw everything from Luckowi chikan, Andhra’s ikkat to the woven splendour of Kota. Purvi also played with lots of diagonal stripes and brocades. But it was innovations like the poncho blouse and a hooded choli that were a definite stand out in the fashion bheed bhaad. V.J. Balhara’s “Bridal Renaissance” saw a fusion of the Bohemian and rural tribal theme, which showcased traditional styles of Punjab and Rajputana with lush Baroque embroidery.
Next up was Arpan Vohra’s couture collection, which saw the first Bollywood appearance of the day in Chitrangada Singh, who was the designer’s showstopper. Arpan’s sartorial potpourri was characterised by a heavy play of sequins and golden embellishments in hues of beige, silver, red and fuchsia pink, besides interestingly tailored skirts, bolero and corsets. The outfit, which Chitrangada sported, however, failed to add the required pizzazz.
Soon after came Debarun Mukherjee’s “Dear Imagination” which again did not live up to its name. The bright flowery designs on earthy tones looked comfortable but didn’t score much on innovation. Nandita Thirani’s line Flor De Luna meaning moon flower was heavy on embellishments and offered some unique Indo-western fusions that played with pleats and frills in an array of rich purple and black.
Finally it was Rajat Tangri’s “Vintage Romance” that saw Bollywood’s favourite item girl Koena Mitra return to the ramp as a showstopper in a heavily sequined hot evening dress. But more than the outfit, it was Koena’s shimmery blue hair extensions that emerged the real showstopper. Surprisingly the line didn’t show many Victorian influences, in spite of Rajat claiming it to be inspired by that era.
Links:
[1] http://archive.asianage.com/newsmjpg-709