TOP 10 COLLECTIONS AT LFW

As Lakme Fashion Week draws to a close, it's time to talk about the big guns, those wonders who need no surname, says JASMEEN DUGAL. Did Manish Malhotra's finale showing ultimately please? Did Sabyasachi and Narendra Kumar meet expectations? And what did Arjun Khanna have up his sleeve? Check out our take on the Top 10 collections…

Lecoanet Hemant pay tribute to the beauty and glamour that lives on in Bombay through this unique architecture and lifestyle that comes with it and says: "Bonjour Bombay!" To see the collection is to believe it — it's subtly luxurious, with beautiful colors and quality. Definitely the highest point of Lakme Fashion Week!


The words "classic with a modern twist" might be the most overused phrase in fashion. But it also may be the only way to describe Nikasha's collection. Nikasha Tawadey indulged her love affair with Indian weaves with formfitting ensembles that shimmied down to a cascade of silk, mul-mul, jamdani, satin, chiffon, georgette, and viscose silk embellished with kutchi and kantha work.


The collection clearly referenced the past—an ode to the 60's mini—but it wasn't mired in it. Araiya steered it in the direction of tulip minis and the occasional slender bubble skirt in a sober palette offset by metallics. Tiny epaulettes appeared at the hem of a minidress, satin sleeves were added on to an otherwise matte dress, and metallic contrast fabrics were added as yokes or sleeves.


Arjun Khanna put on a real show, transporting his audiences from the runway to the land of the Yao tribe. The showing opened with monks lining the catwalk as models showcased ceremonial sherwanis, kurtas, flowing pants, tunics, waistcoats, and bandhgalas. Conventional volumes and proportions were done away with. Bandhgalas—Arjun's signature—were reconfigured in double and single breast versions. Sherwanis featuring colourful touches of the Yao priests, indigo blue of the hemp, and circular motifs reflected the theme. Brocades, silks and velvets were embellished with zardozi, bead, and stonework in addition to minute detailing like jewelled hemlines and collars, contrast facing for the plackets, wide ornate cuffs, and floral multi-embroidery.We noted that despite the rarefied atmosphere, the collection "more than lived up to any heightened expectations," taking spring trends and making them feel classic.


Shane and Falguni Peacock aren't couturiers to hammer on high concepts or political subtexts. Come the next round of red-carpet events and one expect to see the ladies competing for their collection. The duo has produced several options for any event at which a girl might find herself in need of scintillating eveningwear. They have all the bases covered—including a draped empire silk gown, low-back styles, and flowing asymmetries of Chantilly lace, animal prints, and florescent colours that will photograph well from any angle.


Sabyasachi balanced the bridal season's strong fashion with equally bold beauty. Grown-up glamour—elegant hairdos, crimson lips, and precision-lined eyes—were the perfect complement to the runway filled with shararas, lehengas, angarkhas, kurtis, waist coats with shawl lapels, dupattas and odhnas, shimmering pajamas, and saris. Though kurta silhouettes revived the vintage glamour of the Mughal era, Sabyasachi neatly avoided the dusty vintage pitfall. Pants—printed and fluid—were teamed with lean kurtas or Rajasthan blouses. The finale—a black multi-paneled silk lehenga with glittering embroidery worn with a shimmering blouse and odhani—was the ultimate bridal offering.


From the opening creation of a cowl-neck paneled dress in satin with Turkmenistan prints and Ikat on Lurex panels; it was a look that would appeal to western buyers. Prints have always been Anupama Dayal's forte and here she narrates a geometric story inspired by the traditional weaves of Uzbekistan, Turkey, Laos, and India. Her take on sexy is more than a bared back or an exposed front. The best, a maize Ikat-printed dress with wooden rings and patent leather patches, and another, a flame and grey dress in knit with contrast banana satin shoulder ties, had enough presence to go anywhere.


Giant alphabets emerged from among the audience and the stage was set for a study in fashion from Narendra Kumar in his 'Freedom from Illiteracy' line. That's where the collection went, but via the Seventies route. That meant voluminous high-waist trousers, trapeze blouse silhouettes, kaftans, minis, and tunics embellished with alphabets. The standout was a yellow net gown worn over a crinoline detailed with 3D alphabets on the skirt and an "institute" print corset. The neo-flower child might also consider dipping into the silver mini, ecru line, or cotton outfits embellished with intricate fabric folds on the hemline, neck, or shoulders.


Vineet Bahl's 'Lemonade' gave a whole new dimension to the word refreshment. The progression of the first garment to the last that hit the catwalk was done in a symphony that can only be reflected in spring itself, and spoke of Vineet's consistency. The right word to sum it up would be, simply, breathtaking. Fluidity and simplicity were fused with detailing in the form of pleats, cutwork and multi-dimensional embroidery, creating a pleasant, vivacious collection.


The downright mad footwear by Swati Modo!

SOURCE:STYLECANDY.COM