The Grand Finale

There was a sense of ‘closure’ throughout the last day of Fashion Week. A summation of a week which saw many a highs 'n lows- with the very best reserved for the last

By Soniya Kirpalani (Contributor)

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Published: Sun 16 Sep 2007, 10:52 PM

Last updated: Sat 4 Apr 2015, 8:48 PM

grandRocky S: Basics in black 'n ivory called Noir - a tribute to the fragrance the designer recently launched. For the first time, this Bollywood stylist cum designer shed his Bombay meets Bangkok copies and showed commendable sensitivity.

Shades: Black, Jet, Anthracite, Slate, Silver accented with tones of ivory and burgundy, rust and rebellious orange.

Silhouettes: Dresses and more dresses. From school girl pleats to prom night inspired rubbles and body skimming dresses. Beads, sequins, and silver burnt chemical lace worked with dainty ruffles and 3 D flowers. The effect of a darker lace overlayering a light one was extremely effective.

Ashish Pandey: The designer titled his offering 'Pope of Dope' creating a space age futuristic collection that blinded the audience with its kaleidoscopic colour.

Shades: Every shade in the rainbow and then some more.

graSilhouettes: Soft silk organza, georgettes, linen cut into dresses that looked perfect for a pre-launch showing for ‘1990 Star War’ revival movie. Asymmetrical hoops like skirts set off by helmet headgear, striped hose and leather pockets in neon metals- a mélange of materials that made no sense.

Swapan Seema: 'Harlequin Girl', a collection to celebrate fun and fashion, wearable and well finished were its only credits.

Shades: Pastels- Light Blue, Aqua, Coral, Brown and Slate were well combined.

Silhouettes: Part one collection was a sea of saris, Indian suits and lehengas. The second was constructed into crossover cute dresses. Embellished with silver, net appliqué and 3D rosettes the shapes remained traditional with volume interspersed to make it more contemporary.

Peacock Couture: Showing a maturity, this label continued to showcase attire in hi octane glam with a touch of retro.

Shades: Yellow, Ivory, Burnt Orange, Jet, Pretty pinks, with a touch of gray at the base and a touch of leopard.

Silhouettes: Fluid and form fitting, there was an ethereal transparency and fine crafting that gave a dramatic effect to the collection. A cowl neck over a décolleté, dresses in myriad forms, kaftans and shorts all echoing the summer of the 1940s as the midi was seen on the ramp again. Amrita Arora modeled the opening session, in a beautifully embellished outfit.

Ravage Bricologe: or wearable Art is how the design duo, Raj Shroff & Neetu Gupta described the meshing of riot of fabrics design and colors.

Shades: browns, blues, tissue and metallic shades, with soft neutral bases

grandSilhouettes: Prints and paintings daring the consumer with a difference. Textured linen, crushed jersey, foils, chiffons, linens, muslins designed in a litany of dresses, wraps, tunics, skirts –with a touch of volume at the hemlines.

Prriya Chintan: Debuted a collection of contrast. Silhouettes and skirts took on volume whereas tops were structured.

Shades: Reminiscent of a desert oasis, aqua blues, whites, beige, brown, pink, red and blacks creating a luminous effect

Shapes: Layering soft and sheer, taffeta, organza, satin, light weight silk, brunt out satins with multi colour prints, bold stripes this duo created a selection of tunics, high waisted skirts, saris, corsets and swashing skirts.

Kangana Rawat, the Bollywood starlet walked the ramp wearing more jewels than attire – proving to be the highlight of the show.

Rohit Bal showed the penultimate collection at the closure of the tenth edition of the Indian fashion week. A true benchmark of talent and technique.

Shades: Pristine Whites, shades of Blue, Browns, Lilacs, Charcoal, hints of lemon 'n lime.

Silhouettes: Inspired by ancient cultures, alluding the innovative sensibilities of Saracens, Arabs, the Crusaders, the Ottoman Empire, Bal’s ‘Siyaahi’ went from pristine white to painted-in blues. Echoing the aesthetics of the Iznik tiles of ancient Turkey, Rohit created an ethereal collection representing the shifting of sand and time.

Feminine with angelic overtones, in pristine white, midshow amidst a splatter of blue paint, the designer introduced sparkling blue, indigo, vivid greens, charcoal and inznik blue designed into long flowing achkans, voluminous dresses, swirling skirts, interspersed with skirts in metallic strips. Menswear won a similar treatment with fitted jackets and achkans, jodhpurs carried by models wearing naths (nose rings) to adorn their persona.

This was certainly a show that had the audience cheering on their feet. A show which the designer had dedicated to ‘The Last Vanguard’ his friend and mentor Rohit Khosla.

FDCI provided not just a platform but a cohesive voice for an incredibly talented community. A community that took on greedy MNC, Events companies and belligerent babu politicians to rise from their own ashes-as a bunch of designers are recreating modern history- the hope of 1.9 million daily wage workers.

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