by Shubhi Srivastava
02-February-2019 | 8 mins read
The third day of the Lakmé Fashion Week S/R’19 was all about breaking norms of the conventional Indian fashion trends for women and menswear alike, as designers opted for contrasting techniques, silhouettes, colours and details blurring the lines between Avant Garde and ready-to-wear, exotic and indigenous and the minimal and opulent lines.
Here’s the review for the top 7 designers at day 3 for LFW S/R’19.
Outlining the translucent quandary between realism and delusion was “An Oblivion Dream,” a collection by Sayantan Sarkar encompassing immaculately mastered attires that were inspired by Avant Garde. The silhouettes displayed distorted warp insertion aesthetics achieved using an array of straight woven and textured lines with a touch of opulence imparted by monochromes of black and white.
A special attention to intricate details was visible with the presence of elements such as layered sheer structure patterns placed over fluid dresses and easy separates and draped bottoms with embellished jackets. Sayantan Sarkar played with sheer organzas, basic cottons, Bengal handlooms and textures to create the womenswear line, while menswear focused on a sharp play on volumes with white shirts and blazers teamed with loose or fitted pants along with layered ensembles of pocket details dipped in metallics and sheer hues.
Tahweave by Sweta Tantia
The collection presented by Sweta Tantia for her label ‘Tahweave’ made a strong statement boasting of construction details that spotlighted a blend of French architecture with traditional touches of the Orissa culture. With a chic sense of aesthetics, the designer incorporated floral and monumental details from French memorials laced with the iconic art of “Ikat”.
Staying true to its identity as a sustainable brand, the collection championed comfort through draping techniques by pairing anti-fit garments with customised leather belts and shoes. Jamdaani silk met Chattai weave for some pieces while the others flaunted delicate French knots woven to complement floral prints.
SVA by Sonam & Paras Modi
Taking cues from wilderness of the unconventional gypsy life, Sonam and Paras Modi’s collection ‘Tara’ was presented for S/R’19 by their label ‘SVA’. Indigenous silhouettes met western casuals with ensembles created with ornate lehengas paired with denim jackets, along with a functionality kick with soft organza jackets against printed denim shararas.
Contradicting details such as structured lapel collars over plunge-necks, constructed saris, assymetric jackets over cowled skirts, cape extensions over evening wear, cut-out backs and saris worn with jackets brought the east meets west style quotient alive in earthy pastel hues such as like beige, dusty rose, shades of blue and sun-kissed yellow. The menswear included embellished bundgala jackets, kurtas, churidars, off-centre closure tunics and long bundies with kurtas.
Caprese x Payal Singhal
Paying homage to art, tradition, heritage and global history, Payal Singhal introduced her S/R’19 collection ‘Qo’shillish’ (meaning Confluence in Uzbek) offering a melange of various cultures and influences. A clever juxtaposition of Indian folk art over transcontinental technics and crafts gave the aesthetics a “Renaissance meets Mughal Art” design story.
Art forms such as Pietre Dura, Parllin Kari, Malileh Kari, Tilla Doza and the popular zardosi were intricately embellished on innovative oriental silhouettes such as her signatory voluminous Nizami shararas and lean short kurtis. These were followed by experimental pieces such as modern saris, renaissance tops, tie-up blouses, curved asymmetric kurtas, one-sleeved slim maxi gypsy blouse wi low crotch pants sporting attached dupatta and then, brought in a sari with frilled pallav and skirt.
Payal used crêpe, velvet, georgette, silk organza, brocade and tissue over a parade of mellow hues such as moss green, periwinkle blue, ocean teal, dusty rose, sandstone and poster pink.
EKA by Rina Singh
Rina Singh’s “Post Cards from Summer” collection, presented by Corcal Bone and Beauty at Lakmé Fashion Week Summer/Resort 2019, was a vision of gentleness with lush pastels over sheers, laces and layered visions of beauty as they floated down the ramp.
The summer mood was on a high with weave explorations, monochromatic stripes, fragile feminine negligees, noodle-strap blouses and unstructured jackets with value addition of diaphanous, yoked smocks layered over lace. The designer stuck to her strength of ultimate layering with multiple tops, printed coat with pants or two midis layered over cropped pants. A delicate camisole appeared with a flower motif and strappy summer dresses were covered with sheer coats.
Ashish N Soni x Grado by House of GBTL
The combined forces of Ashish N Soni’s progressive fashion sense and fabric excellence of Grado, the luxury fabrics and apparel brand from the house of GBTL – Grasim and OCM, presented the menswear collection that blurred gender demarcations with fashion forward silhouettes and a bold colour story.
The designers experimented with conventional menswear silhouettes through an assortment of flared pants, shorts and one-button or double-breasted suits, to create a line that intersected all facets of the S/R season: corporate, resort, casual, sports and ethnic wear genres.
The checks and stripes – both favourites of the designer, were selected in summer weights with a hint of quirkiness. A play of patterns and lengths was done in conjugation with a contrasting mosaic of checks where light windowpane versions were placed with traditional Prince of Wales checks.
The day 3 of the LFW S/R’19 came to an exotic end with the closing show by Anavila, who reprised her love for Vietnam and the Sa-Pa region through her collection.
The ode to the Vietnamese art was given using the intricate techniques of pleating, cording, embroidery, hand batik slammed with a the strong concept of layering.
Keeping the sustainability banner high, Anavila utilised organic fibres of cotton, linen, silk a strewn in a plethora of colours with 100 per cent natural dyes, prepared at clusters in West Bengal, Bhuj and even Sa-Pa, Vietnam. With a colour story of pristine white, beige and gentle tones of peach, leaf green indigo and charcoal, the traditional sari was revisited using several draping and pleating techniques that resembled the Vietnamese style of garments.
Other popular silhouettes were her trade mark loose comfy pants with floor- length flowing coats, tunics over midi skirts, long kaftans and languid maxis with mesh like fine weaves complementing the blouses, tunics and kurtas.
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