A sweater units the temper at Lakmé Fashion Week Festive 2020


At Lakmé Fashion Week Festive 2020, 11:11’s jumper was a well timed reminder of what could possibly be achieved if designers stayed true to themselves

Let’s begin with the great bits. While the nation’s second digital style season, Lakmé Fashion Week Festive 2020, started with Manish Malhotra’s couture presentation titled Ruhaaniyat (282Okay views on the official LFW Instagram web page), the primary ‘show’ I noticed belonged to 11.11 (106Okay views). Not that I didn’t see Malhotra’s later. I did, and loved the unabashed luxurious and opulence of his embellished lehengas and chic sherwanis. But it was the simplicity of a single indigo-dyed jumper, proven being made by hand from scratch, that caught in my thoughts.

There isn’t any better luxurious any designer may present immediately; all my friends can be sporting this 11.11 sweater quickly, I do know. It spoke for all the assortment, and revealed exactly the place 11.11’s power lies. It was the concept — uncooked fibre being spun into yarn, dyed indigo, after which knit right into a easy jumper all by hand — that marked it out. This is what an Indian model has to supply, the video stated, loud and clear.

The India story

But there are different methods of exhibiting what your nation has to supply; a lesson pushed house by the All About India present (104Okay views) that included capsule collections by six designers. It started with Payal Khandwala’s outsized floral motifs in jamdani from Phulia in West Bengal. Next got here Rajesh Pratap Singh’s futuristic ikat saris for Satya Paul, developed in Puttapaka in Telengana. True to her love for linen, Anavila Misra took off to Dumka in Jharkhand to combine it with the okayhatwa weave. Suket Dhir confirmed modern silhouettes in Banarasi brocades, whereas Urvashi Kaur’s up to date shibori and tie-dyes got here from the clusters she works with in Haryana and Rajasthan, creating expertise and innovating with the communities there. Meanwhile, Abraham & Thakore seemed to Farrukhabad in Uttar Pradesh for the area’s famed block prints, particularly within the delicate gold khadi method that they utilised to theatrical impact.

A Rimzim Dadu sari

The sari, too, had its second. From Parsi gara-bordered Uppadas by Gaurang Shah (106Okay views) to metallic moon-phase drapes in Banarasi brocade by Hemang Agrawal (102Okay views), there have been sufficient factors of curiosity to make sure retail response in a market slowly waking as much as India’s festive season within the midst of a worldwide pandemic. Even Rimzim Dadu, who confirmed as a part of the joint finale (an idea distinctive to Indian style weeks; 230Okay views) with Saaksha & Kinni, made a powerful case for this timeless drape. And she did so by making it — by means of her distinctive sculptural strategies and reflective surfaces — timeless.

Digital bumps

So far, so good. But this overview may effectively have come from an everyday, pre-Covid style week on the Jio Garden in Mumbai. How did LFW being absolutely digital work aside from absolutely the numbers of views it garnered? We should look to the expertise itself.

The first amongst them was the digital present format, which, going by the CGI, was not well worth the effort. The Gen Next class, which I all the time look ahead to, was unwell served with outmoded graphics and backdrops that drew consideration away from the garments. Another designer had a post-apocalyptic Pleistocene fantasy going with woolly mammoths come again to life amid a ruined cityscape overrun with tropical foliage. Yet one other featured big charkha wheels spinning within the background just like the windmills of sustainability, flanked by CGI pillars that attempted their hardest to look classic.

Urvashi Kaur’s menswear showcased at the All About India show

These are factors of non-public aesthetic. So a deeper dive into the digital expertise turns into vital. The issues, I’m sorry to say, started from day 1, when logging on to the official LFW web site grew to become troublesome. I chalked it as much as the positioning being overloaded, and glad myself with viewing the reveals on their Instagram deal with. What I seemed ahead to was the ‘virtual showroom’, a spot for designers to conduct B2B and B2C enterprise. While I’m unable to touch upon the previous, as I by no means registered as a purchaser, the method of registration, even just a few days after LFW ended, isn’t any cakewalk. The web site crashes with wonderful regularity, and, in case it doesn’t, you’ll nonetheless have to be accepted by a back-end crew to entry the showroom and designers’ collections.

The concepts are there, however the execution is the place they hit a snag. And as I kind this, I’m glad we’re going by means of these teething troubles. If something, it’s these issues that can hopefully present designers how vital it’s for them to put money into their particular person on-line presences. Here’s hoping.

The creator is a style commentator and Communications Director on the House of Angadi.

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