By Meher Castelino
Tarun Tahiliani put together his elaborate collection ‘Modern Mughals’ for the modern Indian in celebration of the Indian craftsmanship, further heightened by his aesthetic representations of a spectacular era in Indian history. The line that was unveiled at the BMW India Bridal Fashion Week 2014 at DLF Emporio, Vasant Kunj, New Delhi to much applause, brought glamour and style to Mumbai in support of the Sahachari Foundation’s annual exhibition called “Amazing Yards”.
The perfectly executed two day event, organised to raise funds for the Jaipur Foot Project and other NGOs, had 20 well-known brands like Akaaro, Anavila, Raw Mango and many more that showcased their creations along with fabrics from expert weavers. The elite line-up of invitees were clearly swept away by the lovely creations as they shopped happily at the exhibition.
Serving a delectable “Daavat of Fashion”, Tarun’s creations were visual 3D images of stylish art that glided down the ramp. Bringing together weaves, embroidery and textures, the show opened to the pulsating beat of live ethnic music. The complex layering for the couture and ready-to-wear creations for men and women proved that Tarun is the “Master of Drapes” who can present a mindboggling line-up of garments that at times defy imagination.
Giving the creations a fusion vibe that will appeal to the international buyers, Tarun opened the show with an asymmetric white kurta with delicately embroidered shoulders and a tantalising circular cut-out back teamed with cropped ijjars. This interesting back concept appeared periodically throughout the show for cholis, tunics and angarkhas.
Fusion combos like the printed lungi with a racer back tunic brought a New Age touch to the collection. Churidars were worn with a peplum top having a tail coat silhouette but splashed with traditional work. Here was another example of how the Mughal inspiration could be worked into modern ensembles.
The presentation continued with an elegant offering of flowing palazzos, cape-cum-tunics, cropped pleated pants; lungis, slashed sleeves for kurtas and flared kedia tops with elongated rear hemlines.
An occasional printed kaftan with butterfly sleeves added a touch of western elegance. The line-up of draped sari gowns in shades of red, gold and maroon with glittering corsets; and an embroidered cape-cum-Anarkali creation, added innovation to the collection. A stunning red draped satin toga gown was one of the attention getters.
Chikankari which is Tarun’s favourite embellishment appeared for kalidaar kurtas and dhoti draped saris. A gold embroidered long sleeved cape with mesh design over a draped dress was eye-catching in its exotic beauty.
The pastel selection of pretty net saris with luxurious floral embroidery was a delicate offering for the ethnic dresser. This almost ethereal line was breath-taking in its beauty and gossamer like textures, which were most lust worthy.
The final bridal couture collection of lehengas, cholis and dupattas were magnificent in their beauty and ultimate craftsmanship turning them into creations that every bride dreams of as the glittering ensembles glided down the ramp.
Men’s wear matched the grandeur of women’s wear as dhotis were teamed with kurtas and waist coats. Sherwanis were stately in deep solid tones some with asymmetric closure or with ornate embroidery. Velvet shawls added to the sophistication of the men’s wear. Jodhpur pants added to the style of the kurtas and bundi, while bundgalas were matched with sharply cut trousers reminiscent of Savile Row tailoring.
Waistcoats appeared for both men’s and women’s wear but with varying embroidery and lengths for a marked difference.
Detailing for the collection revolved around stitched-in pleats and belted saris or kurtas along with dhoti or lungi drapes for pants and skirts. The rich colour story moved from pastel pink, jade, mauve to intoxicating champagne, rich gold, bright red, sophisticate maroon, electric blue, sunny saffron and ended with heavy jewelled looks, which at times were so intense that the embellishments almost replaced the need for jewellery around the necks.
Fabrics that created magic on the ramp started with tulle, brocade, velvet and sheer silk, splashed with intricate zari and resham embellishments, Chanderi cutwork and chikan work. Collars, cuffs and yokes of garments were adorned with the finest embroidery that has been part of the Indian heritage. The silhouettes were a mélange of shapes that moved from lehengas, cholis (with long sheer sleeves), kurtas, angarkhas, to tunics, gilets, vintage dresses, sheer pants and kaftans.
The show stopper, Sonakshi Sinha in a pastel embroidered tulle kurta and lehenga pranced down the ramp energetically dancing to the foot tapping beat of the live music.
The gorgeous jewellery for all the creations was by Devanshi Mehta’s bridal jewellery brand Cisne
Giving a modern edge to traditional Indian clothes, Tarun Tahiliani once again proved his expertise with his “Modern Mughals” collection by merging heritage as well as craftsmanship with contemporary style and silhouettes for the 21st century dressers.