As the lights dim and the music swells, couture brilliance emerges with elegance and a little bit of contemporary flair–where heritage-rich fabrics and avant-garde designs collide in a breathtaking showcase. Held between July 24-31, FDCI’s Hyundai India Couture Week 2024, presented in partnership with Reliance Brands, was hosted at The Taj Palace, New Delhi with great pomp and show, having 14 different stalwart designers.
However, the focus on extravagant outfits, predominantly crafted for grand Indian weddings, can sometimes lead to a sense of repetition. The challenge continues – infusing fresh creativity, transforming the familiar into something unexpectedly captivating and innovative. The beauty of fashion is its ability to evolve and surprise. And some Indian designers brought that fun and enchantment to the ramp.
As the legendary designer Kenzo Takada once said, “Fashion is like eating, you shouldn’t stick to the same menu.”
The show stealers
Probably one of the most exciting and refreshing collections of this couture week, designer Amit Aggarwal’s Antevorta stood out. There weren’t wedding lehengas, traditional sarees or the typical embellished Indian-styled gowns.
Instead, there were avant-garde and sculptural pieces, reinterpreting age-old textiles like Banarasi along with hand-embroidered tessellations, techniques like micro-pleating on innovative fabrics embellished with three-dimensional corded forms, glass beads and lamina scales that gave way for a structural fluidity.
In shades of metallic blush pinks, silvers and blues, this collection redefined the boundaries of what fashion can be, truly how Mr. Aggarwal’s collection always does.
Designer Rimzim Dadu‘s creations can be described as ‘wearable treasures’. This year too, her designs continued to be oh-so-unique. Titled Stucco, the collection featured mini-dresses, fringed tops, barely-there blouses, and metallic corset waistcoats worn with cocktail lehengas added hints of sexiness.
Draped skirts, studded denim, and sharara pants added a fresh perspective.
Her signature wire cording techniques found gravitas; the sculptural drapes and other innovative silhouettes were infused with beadwork and embroidery. The silhouettes are adorned in diamantés, sequins and sparkle – in ways that are unexpected and unconventional. Metallic sarees and cropped blazers for men, adorned with signature hair-thin metal wires, spoke glamour fluently.
Kings of maximalism, Abu Jani and Sandeep Khosla, know how to start a party on the runway; their collection is aptly titled, ‘Disco Mujra’. Asal & Mard by Abu Jani Sandeep Khosla saw organza, mirror-encrusted kurtas with crystal-encrusted bird embellishments and ivory-toned lehengas where embroideries reign supreme.
However, it’s the menswear – front open jackets with embroideries, and translucent kurtas that are far more revealing than a traditional Indian kurta would be – that injected the elements of pushing the boundaries of traditional couture. Combining the vibrant energy of disco with the elegance of mujra (a traditional Indian courtesan dance), the royal silhouettes were impressive while the theatrical elements elevated the showcase.
A bit of drama, a bit of history: who doesn’t love clothes that weave stories inspired by the grandeur of Roman emperors? Designer Siddartha Tytler’s Caligula collection transcended mere aesthetics. Think fitted, sequinned gowns, flared or sequinned transparent-like lehenga skirts complimented by voluminous sheer sleeved, floral blouses with cutouts, chainmail gowns–these silhouettes were a masterclass in modern reinvention.
Mr. Tytler’s vision was best showcased in menswear. The growing interest for edgy and bold menswear style was evident – sequinned zipper waistcoats paired with asymmetrical kurta-pyjamas, and velvet bandhgala kurtas paired with voluminous, layered dhoti-style pants. Mr. Tytler has the recipe of a balanced approach that ensures that menswear evolves in a way that honours heritage while embracing a contemporary edge.
A little hit, a little miss!
The romance of Parisian fashion exudes a sense of enduring grace. For many, the aspiration to weave this old-age classic style into Indian traditional wear is a compelling vision. And designer, Isha Jajodia portrays this flair in understated glamour. Titled ‘Art of Eternity’, Roseroom by Isha Jajodia reimagines wedding wear for today’s discerning clientele.
There’s fine lace femininity, French architecture-inspired designs, floral motifs, lightweight and delicate chikankari twirling silhouettes that harmoniously blend old-world charm with new-world sensibilities. Traditional designs can become stagnant without a continuous infusion of fresh perspectives. And for a change, Ms. Jajodia’s designs seemed like a breath of fresh air.
Along similar lines, designer Dolly J presented a collection of an escapist realm. Titled, ‘La Vie en Rose’, the collection had shimmering tulle, delicate laces, chiffons in silhouettes of sparkly gowns and lehenga skirts paired with blouses having daring necklines.
Subtle embroidery and embellishments stood out without being overwhelming. The collection marched in light pastels that gave way to a refreshing departure from the typical bold colours. However, it lacked the intriguing factor.
From dressing international celebrities to showcasing at Paris Couture Week, there’s no denying that designer Gaurav Gupta has reached the pinnacle. Titled ‘Arunodaya’, the collection, with its introduction of sculptural metal breastplates, saree gowns and draped ones, offered a novel perspective.
However, as the collection progressed, its allure subtly mellowed. Sure, there was a lot of energy when Gen-Z stars, Khushi Kapoor and Vedang Raina debuted as showstoppers. Yet, the appeal needed a bigger saving!
Similarly, designer Jayanti Reddy’s ‘Threads of Legacy’ paved the way why artful embroideries, handwoven silks, intricately done zardozi and beadwork and the mastery of India’s many artisanal techniques will continue to be the highlight of Indian couture. However, the sarees, lehengas, and bandhgala sets for men in deep amethyst and aubergine shades felt all too familiar. The craftsmanship had all the elements to appreciate but the collection was ultimately marred by its repetitiveness.
A spectator’s desire?
In the ever-evolving world of fashion, the appetite for fresh perspectives is more pronounced than ever. Most fashion enthusiasts are increasingly yearning for a departure from the predictable – seeking a respite from the repetitive wedding staples that often dominate Indian couture.
Weddings in India are known for being humongous affairs lasting for days, with a lot of rituals and extravagant clothing. In India, about 10 million to 12 million weddings typically take place each year, with the industry estimated to be worth $50 billion, second only to the United States. There’s a reason why we call it ‘big fat Indian weddings’. The Ambani wedding, anyone?
So it is understandable why designers want to bank on this. This financial potential understandably draws many designers to capitalise on this vibrant and lucrative market.
This year, Falguni Shane Peacock’s designs at India Couture Week 2024 confirmed this. Lehenga sets, sarees, sherwanis, draped gowns and ornate kurtas – all were brought out in almost-blinding sequin embroideries, bling, feathers, crystals and shimmers. The collection screamed ‘more is more’ with no hints of subtlety.
There’s no denying that lehengas will remain a cornerstone of Indian couture, but there must be a way, a shift in how Indian bridal fashion can extend beyond the confines of tradition. Should couture be just reserved for one’s wedding day? A broader shift in couture is awaited — one that embraces individual narratives and innovative design.
At the same time, while the sheer volume of lehengas can sometimes lead to a sense of monotony—seeing them repeatedly from every angle—it’s important to remember that for Western audiences, even a carefully curated selection of lehengas can appear incredibly exotic and captivating. The intricacies and cultural richness of these garments offer a fascinating glimpse into Indian bridal fashion that is both unique and enchanting to those unfamiliar with its nuances.
Indians are now a global audience seeking fresh and exciting fashion narratives. As many Indian designers make their debut at international fashion weeks, what Indian wear traditionally represents must also maintain its appeal to Western audiences.
The balance awaits. The challenge persists.
