TeaShe shines with designers in the evening “Kaalitit Couture”, which is the dress code for the 25th anniversary festival of Fashion Week in India. Unlike most such events, when a litni of Bollywood actors dominates the runway, front lines and parties, there were designer stars here.
Couturier Manish Malhotra wore a brooch shape on his black bandhgala with his jewelery label. Designers were smooth in Felsef Comrade -Clack of Ritu Berry, Reena Dhaka, Namrata Joshipura, and Alpana Mittal Style. Berry and Dhaka Sexy Long Dress, in Joshipura and Mittal East-Shee Sara, their skins ago.
The New York -based campaigner Jesle Tank wore a Pearl Coucher for his interview with celebrities for social media. Masaba wore an incense-yellow kati dress with a piece of hair renovated with her 2023 bridal look, while Gaurav Gupta called a “space suit”, a midnight blue number, eyes hit behind dark glasses. Netflix’s Richa Murjani I have never had A sage arrived in a green gown with a embroidered choli, but was staining in its color.
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There are only a few ways to define the 25th anniversary of Lacmo Fashion Week – an artistic edited visual memoir on a large screen and a subjective interpretation of fashion in a quarter century.
Known for its long cooperation with title sponsor, Lakm, the program is now branded as LFW (LAKM) Fashion Week) X FDCI (Fashion Design Council of India). The council is the place where the idea of Fashion Week was first born in India.
The festival began with a large party at Lotus Ballroom of Jio World Convention Center in Mumbai. The guests picked up a toast in a pre–show area, which was laden with a grazing table. It was a type of glamorous industry reunion, especially for those who are actually around a fourth century. Many people were seen embracing generations and emerging talent.
The long-wide evening led by Indian-American actor Kaal Paine led the runway retrospective. He wore Malhotra, his jacket in a black suit, flickering his jacket.
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Nostalgia, Couture and Anarchy
The show performed between brilliant and erudition. In a way, it reflected 25 -year -old Indian fashion – its unforgettable victory and its unnatural creations.
Consider some winners: succulent velvet gown of hair with floral patterns; Sunit Verma’s mythological metallic breastplate, first styling as a saree blouse; Manish Malhotra’s black and gold somot for actor Shah Rukh Khan, when the actor injured himself but still went to the designer; Rajesh Pratap Singh’s handloom clothes were woven with steel; Jamwar of JJ Valaya; Draps of Tarun Tahiliani fluids; Anamika Khanna’s text dresses; Sculpture Couture of Gaurav Gupta.
All this came out as a live performance – drivers, singers, artists of styles – set the rhythm of the runway.
Funny, the show did not follow the chronological order. For the audience, a clear story has to be understood, if there was any. There was no clear argument, suddenly by the 2001 clothing, then the 2017 pieces of 2017. If there was a group of strategic category – grumbing – Hute Coucher, luxury prêt, premium athlezer, or bride – all of it stained together.
The retrospective displayed was the development and stumbling of fashion design in India. The way it sticks to the bling, its attraction with long, flowing, crinoline-pumped clothes, and more on silhouettes and forms. Of course, these were the finale representation, and India is the only country where a “Grand Finale” is staged with a dramatic set, large-to-life elements, celebrity front rows and Bollywood shostoppers. In Lakm,, Finale designer also directs a seasonal cosmetics collection – a part of Bold and Big Brief. It is probably wrong to expect a democratic representation of fashion in this memory.
Yet by focusing only on dramatic textiles, the show has left some of the largest Indian designers made in the last decade-especially in prÊt or prepared-witting.
Major omission
Choreographed by stylist Gautam Kalra, the show was a symbol of the work of 30 designers, who made each two standout pieces again from his previous work. Only closing designers of LFW’s visit were invited on stage. In view of the long time, Tarun Tahiliani, Sunit Verma, Malini Ramani, Anita Dongre, Ritu Beri, Ritu Kumar, late Rohit Bal, Gaurav Gupta, Kachcha Mango’s Sanjay Garg, Amit Guggarwal and Rahul Mishra were included. However, some big names were missing.
Manish Arora, among the first blazing designers in the country, was not represented by his boundaries, retaining his cultural chaos. So the heavenly vendel Rodrix, a leading visionary of this platform and a long -standing patron for Gainext Debutants.
Both Arora and Rodrix were the closing designers, as Sabyasachi Mukherjee. Not a word was spoken about him. Insider accounts show that it has refused to send representative clothes, which has separated from fashion week bodies for years. But accepting the only Indian designer that the globally recognized luxury brand has successfully manufactured, he would not have reduced the mass victory of the industry over his silver anniversary.
Real star power
This would not have to accept the grace that some past and current fashion models of India were brought for the evening. The 60s that went on were actor Lisa Ray, once the face of Lacmo, and Lakshmi Rana, who still holds their wires appearance on the ramp with Lisa Hayden, Carol Gracias, Indrani Mukherjee and Sara-Jen Dioce. On the other hand, some icons, which helped define Indian modeling through a sheer personality – was absent from Milend Soman, Madhu Sapre, Arjun Rampal, Meher Jessia, and Lakshmi Menon – Gala.
In the early years, photographic was the best part of an indifferent AV show with flashbacks. Some designers accepted the same. Meanwhile, otherwise the sharp period pens struggled to resonate with the culture and context of India’s strange creative journey. His efforts in Vitti Butter did not do much work, but he was rescued by actor Kareena Kapoor Khan, wearing clothes-“Friend” in a white lace lehenga-Asmbal by Manish Malhotra.
Kareena is ready to replace Ananya Pandey, announcing her return as Lakmo’s face after a four -year break. Khan, who had represented cosmetics for many years, cleverly ignored the teleprompter. She said that she wanted to speak heartily. Therefore, she paid tribute to the fashion “real stars, models waiting in wings” and still some other-scrutinized gems of an industry.
Chefly Vasudev is the author of ‘Powder Room: The Untold Story of Indian Fashion’ and a cultural commentator. Views are personal.
(Edited by Ratan Priya)