After much anticipation and murmurs about celebrity showstopper, the couturier
of the opening show of PCJ Delhi Couture Week, Varun Bahl, had his
audience in thrall with his chic-meets-retro presentation of modern Indian wedding wear.
The venue, New Delhi's Taj Palace Hotel was beautifully decked for the occasion with scented candles, mirrors, chandeliers and bouquets of lush white lilies.
And like every first show of a fashion week, this one too did not begin on time. Though, one did not exactly mind as designers, models, socialites from Delhi's page 3 circle, and who-is-who guests among others started filing in for the show.
Theme: With his line for Fall 2012-13, designer Varun Bahl
attempted to merge the classic evergreens of old India with the outlook
of modern Indian dressing tastes. Living up to the theme, the opening
line had girls clad in black sheer net fineries with patches of
embellishments around the hem and wrist take to the ramp. The attempt to
break free from the traditional while retaining the charm of the old
times with modern silhouettes, was unmistakable, and for this Varun
deserves credit.
Collection:
It was a fine line up all the way from net, chiffon and crepe sarees,
Achkan, Sharara, the Mughal Farshi, to the ubiquitous lehenga. In
Varun's words, "The collection
is aimed not only at the Indian wedding, but also towards those who
love to dress Indian with pride, but are looking for modern updates on
traditional Indian silhouettes."
The use of black in the range made a bold statement since the underlying inspiration was Indian wedding where the use of black is forbidden. But the designer moved away from the notions associated with the colour and displayed a delicate, feminine collection of black see-through net Anarkali kurtas with embellishments on the sleeves teamed with parallel pants, asymmetrical kurtas with flowy capes, long velvet jackets over lehengas, sequinned chiffon sarees coordinated with a red bra that is in turn stitched to the dupatta of the saree, and short golden blouses with transparent net vests worn with layered, applique lehengas.
Ask Varun on his conscious use of black through the collection, and pat comes the reply, "Black adds a modern relevance to the time-honoured, traditional cuts and shapes this collection is based on. And I feel the inauspiciousness associated with it is only in the mind."
It was quite amusing how with each display the way of wearing the brassiere changed. Sometimes it was worn over the outfit, sometimes under it, though visible through the sheer net cover on top, or at other times stitched to the cape flowing behind the dress.
Silhouettes and detailing: We didn't miss the impressive use of fabrics from silk net, chiffon, silk, velvet, to a multitude of hand embroidery techniques on this line of contemporary Indian wear. One could only turn the dresses inside out to know how the whole thing has been stitched together. Add to it a classic use of key elements such as transparency, layering, flounce, fit and flare, volume and handcrafted textures.
Colours and accessories: After a powerful opening with sheer black, the colour palette fades into lighter shades of cobalt to navy, olive, tulle, before it progresses to more festive hues like coral, fuchsia and reds.
Golden stilettos with blingy heaps of golden strings dangling from either side, chandelier earrings and hair tied in a neat bun was the way the girls were accessorised.
Heart stopping moment...was when supermodel Jesse Randhawa
strutted in wearing a red bra under a see-through black net vest teamed
with a black chiffon Sharara with thick red hand embroidery on its hem.
The truth is when the likes of Jesse Randhawa are on the ramp, one
doesn't miss not having a celebrity showstopper.
The venue, New Delhi's Taj Palace Hotel was beautifully decked for the occasion with scented candles, mirrors, chandeliers and bouquets of lush white lilies.
And like every first show of a fashion week, this one too did not begin on time. Though, one did not exactly mind as designers, models, socialites from Delhi's page 3 circle, and who-is-who guests among others started filing in for the show.
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The use of black in the range made a bold statement since the underlying inspiration was Indian wedding where the use of black is forbidden. But the designer moved away from the notions associated with the colour and displayed a delicate, feminine collection of black see-through net Anarkali kurtas with embellishments on the sleeves teamed with parallel pants, asymmetrical kurtas with flowy capes, long velvet jackets over lehengas, sequinned chiffon sarees coordinated with a red bra that is in turn stitched to the dupatta of the saree, and short golden blouses with transparent net vests worn with layered, applique lehengas.
Ask Varun on his conscious use of black through the collection, and pat comes the reply, "Black adds a modern relevance to the time-honoured, traditional cuts and shapes this collection is based on. And I feel the inauspiciousness associated with it is only in the mind."
It was quite amusing how with each display the way of wearing the brassiere changed. Sometimes it was worn over the outfit, sometimes under it, though visible through the sheer net cover on top, or at other times stitched to the cape flowing behind the dress.
Silhouettes and detailing: We didn't miss the impressive use of fabrics from silk net, chiffon, silk, velvet, to a multitude of hand embroidery techniques on this line of contemporary Indian wear. One could only turn the dresses inside out to know how the whole thing has been stitched together. Add to it a classic use of key elements such as transparency, layering, flounce, fit and flare, volume and handcrafted textures.
Colours and accessories: After a powerful opening with sheer black, the colour palette fades into lighter shades of cobalt to navy, olive, tulle, before it progresses to more festive hues like coral, fuchsia and reds.
Golden stilettos with blingy heaps of golden strings dangling from either side, chandelier earrings and hair tied in a neat bun was the way the girls were accessorised.
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