INSTEP Magzine

As I was approaching Bombay's National centre for Performing Arts (NCPA), more and more billboard announced the Lakme Fashion Week (LFW) Autumn/Winter 2007. But the best shout came from a 70-foot black dress with psychedelic butterflies hanging from a building on Marine Drive. You just couldn't miss it.

Upon entering the NCPA, I was struck by the calm and almost funeral-like silence. My expectations of usual humdrum, hordes of chic participants and attendees, and swarms of black-clad volunteers took a hit. I felt confused and disoriented. Had it not been for the billboards, the dress, the neon-light sculpture announcing the week, I would have been convinced of landing at a wrong venue. But this was LFW Autumn/Winter 2007. I just couldn't help recalling my experience at India Fashion Week in Delhi where I had been struck by shock equivalent to perhaps 11,000 volts the moment I entered the venue.

The designer line up at the week did not sound exciting. However, I patiently waited to be visually dazzled and blown away by their collection. I have to admit I was not disappointed.

Vikram Phadnis rethinks Bollywood then goes back to it

Vikram Phadnis opened the week for jewellery house Gitanjali. A young darling of Bollywood, he tried to break away from the cinematic couture he is known for. Restricting his palette to black, white and grey, he used knits generously to keep to the autumn/winter theme. But three days later he couldn't escape the looming Bollywood influence when he sent his own collection down the ramp. Phadnis failed to handle soft-hued prints and create a balance with stark blacks. Wherever he used these prints in scarves, ties or trimmings, he was successful. The moment he increased the use of prints, he bombed. But the worst was his silver and gold zardozi. It hit the aesthetic sense like sharp slap. It lacked finesse and beauty. He once again confirmed my suspicion that Indian designers have still not perfected the art and use of zardozi.

Foreign brands target India

Knits made frequent appearance in various collections. Italian designer brand Giovanni Cavagna had a heavy dose of woolens, too. Anita Dongre also used knits in her line. Designed for the practical woman, she kept her line to simple, non-fussy silhouettes, solid colours with minimum embellishments around hem, sleeves or backs. Not every impressive and high on glamour, her collection stuck to the theme.
Interestingly, international brands have a significant presence at LFW 2007. Sisley, FCUK and Giovanni showcased their autumn/winter collections and used the platform to launch their business in India. Sisley sent a collection down the ramp that was stylish, casual and wearable. Similarly, FCUK also stuck to its basic philosophy and showed a very casual and simple line. Its menswear was rather interesting with smartly tailored formal trousers drooping over the shoes. However, Cavagna superbly blended textures, which created a stunning impact, but the clothes seemed inappropriate for Bombay.

Black is back, but did it ever go away?

Black ruled the ramp. Many designers had a significant part for their collections in this eternal hue. However, one style element that no longer seemed a statement because of its cliched use was leggings. Leggings in colours, textures, patterns walked the ramp. It was certainly an overdose and failed to make a positive impact. At times, it actually marred an otherwise good outfit. Other trends that made put in frequent appearances were tulip hems; pleats of all forms, sizes and shapes especially box ones, comparatively lesser use of embellishments and sharp, clean silhouettes.
The use of gunmetal grey dominated the palettes of Vikram Phadnis, Anand Kabra, Swapnil Shinde and Narendra Kumar.

A finale to remember

Narendra Kumar sent an all male collection that simply stole the show. Inspired by avant garde architect Zaha Hadid's works, his diverse take on jackets was simply superb. Asymmetric plackets, one button high neck long jackets, mandarin collars, slim coats, Kumar displayed his dexterous handling of fabric, sharp tailoring, and creativity in one garment. Stunning use of detailing such as elongated buttonholes, silk and leather trimming, velvet shawl collars, intricate quilting... all celebrated his mastery of craft. The best stroke was his appearance as model. He showed that his clothes are for every man who thinks stylishly and not just models or cine demigods.

Other hits and misses

While Narendra Kumar shone bright, Bollywood darling Neeta Lulla's collection was drowned by chaos and confusion. Her arrival from celluloid to ramp was not effortless or stylish, to say the least. Inspired by female foeticide and emancipation of the girlchild, her collection did not remotely resemble the theme. From bahinji shalwar kameezes to gowns, Neeta lost the thread somewhere along the way. Also, almost every garment had too much happening: prints, bling, surface gold printing, drapes, and layers. Too confusing, too heavy on the nerves. She needs to detox herself from Bollywood and go on a sartorial meditation if she wants a smooth entry into fashion.

However, Pria Kataria Puri's Turkey-inspired collection had some beautiful moments. Ranging from Ottoman to Modern Turkey, her collection imbibed modernity and tradition with effortless ease. Rich, opulent and glamourous were interpreted through velvets, silks, satins and tulles. Her silhouettes ranged from short kaftaan dresses, baby-doll cuts, classic chemises and floor length kaftans. Intricate, luxurious Turkish prints were abundantly used in rich colours. However, she could get the bling factor right as she paired her beautiful short dresses with disco ball skirts and hot pants.
This added a bit tack to an otherwise stunningly opulent collection. Also her tiger print dresses whisked the eye from gorgeous Turkey to the dark shadows of Sundarban leaving the senses jarred and disoriented. Perhaps, she wanted to pay homage to the bravery of Ottaman Sultans which did not gel well with the rest.

After Sabyasachi - the new Calcutta brigade

Dev R Nil, the latest sensation from Calcutta brigade, showed a beautiful but highly wearable collection. Clean silhouettes, detailing and understated glamour were the highlights of this designer duo's line. The best feature was their use of fine quilting as embellishment. Light on the eye yet introducing depth to a garment, quilting emerged as a major form of embellishment.

Another Bengali designer Kiran Uttam Ghosh drew her inspiration from Archie comics Big Ethel. To be at ease
with awkwardness and oddity was her theme. Rouched chooridars, long multi-panel shirts, saris with short Rajastahi angarkahs or full sleeved chiffon tops, asymmetrical skirts, knitted coats...all came together to give her theme a life. Nothing truly complemented each other and yet blended to paint a collective imagery of relaxed and cheery. Her Bengali sensibility dominated in layering of garments and signature prints. She was successful in translating her abstract theme into clothes.

Wendell Rodricks

Similarly, Wendell Rodricks impressed me with first two lines of his Empress Theodora inspired collection. Revolving around her virginity and saint hood, the two lines flowed beautifully. Serenity and purity were conveyed through the use of whites, pearls, ivory and beiges with soft grey just peeking through. Sheer was taken to another level with chiffons, muslins and organzas blended dexterously. The garments just sailed on the ramp. Absolutely marvelous! But the sense a got a visual earthquake when the third line inspired from Theodora's mistress period hit the runway. He chose the wrong-est possible shade of red-quilt red- and silhouettes also shrank to tight mini dresses. Rodricks just could not interpret decadence in a classy way.