When over a dozen film stars flew in from Mumbai to walk the ramp or claim front-row seats, Delhi’s fashion week became a spectacle of celebrity. Phones went up, hashtags flew, and the coverage focused more on who was watching than what was shown. At Hyundai India Couture Week 2025 — presented with Reliance Brands and under the FDCI banner, held at the Taj Palace Hotel from July 23 to 30 — serious fashion journalism was mostly sidelined. Fourteen designers showed across eight days, but the conversation rarely moved beyond star power.
Now that the noise has cleared, Meher Castellino — the Grand Dame of Indian fashion journalism — brings you her expert viewpoints on what was actually worth noticing.
- For the convenience of the reader, the article is in two parts.
Part 1 – Day 1 – 4
(please click) Part 2 – Day 5 – 8
By Meher Castelino
It was a glittering cavalcade of wedding wear that will thrill the bridal couple during the coming season. Colours rivalled the rainbow, while the silhouettes were quite adventurous and at times innovative or extreme. A lot of effort, time and great dollops of creativity was put together to present collections that will appeal to bridal wear buyers.
But the most important aspect of the event was the fact that Indian Couture cannot exist without embroidery by the master craftsmen of the country. The bridal fashion event was undoubtedly a homage to India’s ace embroiderers and artisans. The magic of the embroidery was evident in every collection of the 14 designers. At times, creative construction was not evident for ensembles, but it was the expert craftsmanship that enhanced the beauty of the creations.
There is no doubt that embroidery is the foundation and basis of Indian fashion and without this very important aspect, Indian fashion designers will be at the crossroads of creativity.
OPENING SHOW
RAHUL MISHRA – ‘Becoming Love’
It’s not easy doing two giant fashion weeks in two different continents in one month, but Rahul Mishra managed to churn out collections in quick succession.
– On July 7, 2025 – he was one of the designers on the opening day of the Paris Haute Couture Week Fall/Winter 2025-2026 season with his collection “Becoming Love”.
– On July 23, 2025 he zoomed into New Delhi to open the Hyundai India Couture Week 2025, again with “Becoming Love”, but this time there were a few traditional additions to appeal to the Indian bridal couples.
The inspirations were the works of Claude Monet and Gustav Klimt. The surface ornamentation was intense and exhaustive as embroidery at times completely covered the silk organza, tulle, velvet and satin. Every embellishment technique was lavishly splashed on the collection, but the Rahul Mishra identity was somehow missing. At times, it appeared as if random pieces were put together.
The favourite giant rosettes bobbing around the model distracted from the sleek bodycon mini. The peplum, will-power top with a heart shaped midriff cutout, teamed with a long, pencil skirt, brought the message of the title to centre stage. The sudden appearance of a gold Bob Mackie type, sexy gown didn’t quite fit into the collection, although it was very pretty.
The moulded gold mini was a great conversation piece. The construction of rigid giant floral cutouts and faces have been a favourite of Rahul through many shows, and would be ideal for celebs who want to attract attention, on the international Red Carpet.
What was missing was the amazing construction and the tribute to textiles of India. One remembers that fabulous Kerala cotton reversible line in 2006, which won Rahul the CMAI Award, a scholarship from Istituto Marangoni, Milan and a standing ovation when it was displayed at the Lakmē Fashion Week Gen Next show in 2006.
In 2008 at the International Apparel Federation Designer contest in Maastricht, Netherlands, Rahul’s three reversible creations in Benares Brocade and Kerala cotton amazed the trio of international judges who wanted to award him all three prizes. He won the Most Commercially Viable Award. Known as the Reversible King of Fashion after winning the International Woolmark prize in 2014, it was the Indian textiles that got Rahul all the accolades.
Rahul Mishra’s construction has always been very strong and his experiments with Indian textiles gave a boost to the weavers. But it seems recently, that glitter and shine has overtaken his creativity along with themes that at times seem too esoteric and just make good copy.
DAY – 2
ROSEROOM BY ISHA JAJODIA – ‘Whispers of Love to Myself’
A regular at couture weeks in India, the Roseroom by Isha Jajodia label has presented arresting ensembles on the ramp. The latest collection quaintly titled “Whispers of Love to Myself” played with tonal embellishments on some striking hues. The opening blush tones culminated in white, and gold with lace being the focal point of most ensembles. A hint of jade, flaming red and black brought a touch of colour fantasy on the ramp.
The 50 couture creations featured a feminine line of skirts, capes, jackets, tuxedos and sculpted corsets. The layers of Chantilly lace, organza, tulle and diaphanous feather detailing added to the delicate, gentle, elegance of the collection.
The sudden appearance of 18K gold accents raised the couture bar of the collection to an haute level. Lehengas with tiny capelets, a corset with tailored trousers, trails of flowing fabrics as sleeves of corsets and will-power body-con gowns with lace capes, told a dramatic story.
The Roseroom by Isha Jajodia collection was a gentle story of lovely, feminine, bridal couture that will create magic for the woman on the most important day of her life.
SUNEET VARMA – ‘Sehr’
The title was an Urdu word “Sehr” meaning enchantment or early morning magic. Suneet Varma’s bridal wear offering is known around the globe as the ace wedding wear designer has created a name for himself. Suneet’s razzle dazzle has captivated women who long to make a stunning bridal entry. Gentle colours like rose tints, ice lilacs, grey and dramatic black along with gleaming embroidery and mirror work brought the collection of jackets, shararas, saris, draped skirts, corsets, perky shorts, tunics and gowns to life in chiffon and silk.
The opening line of glam ensembles in black with glittering embroidery set the pace of the show. The stage décor in all-white featured a menagerie of fauna on land and in the air. Drama and great construction kept the show’s tempo at a heightened level.
The second part in pastels and white kept the audience gently engaged, till Suneet suddenly broke the serene reverie with two entries. A white sari with a mini cape was accessorized with a giant swan in flight, perched on the model’s head and the other a beautifully embellished gown with flowing, shaded, floor-length, shoulder trails that was accessorized with a giant bird on the model’s head.
This was the start of fascinators that twinkled on abstract shapes of wires on the head in varying forms. Here the show took on a whimsy angle that moved the attention from the ensembles to the top of the head. Suneet Varma’s shows are supposed to be theatrical presentations. Wish this one had kept the attention on the bridal wear.
WATCH FULL SHOW
DAY – 3
AMIT AGGARWAL – ‘Arcanum’
Amit Aggarwal’s “Arcanum” collection started as a somber showing in black and dark hues with construction that baffled the mind. The opening entry – an abstract, cocoon silhouette with an imposing head gear gave the direction the show was going to take. Each garment of Amit’s needs to be studied individually to learn what makes the audience sit up and ask how he does it?
The collection did not feature a single conventional lehenga, choli, dupatta, trio. In fact, the very unconventional bridal wear was for a couple that moves from the mundane to the magnificent. Colours gradually crept into the line but maintained the mystifying construction of curves, shapes and forms, while turning the conventional sari into a futuristic Zen like offering. The introduction of Bandhani and ikat fabrics turned into unbelievable, sculpted, moulded creations, brought a fresh never-before-seen perspective to the line.
Amit Aggarwal’s collection was a masterful presentation of fashion that could earn him the title of India’s Schiaparelli. Metallic corded trims, 3D embellishments and varying volumes for the silhouettes brought an arresting touch to the apparel. The intriguing addition of facial/head ornaments that encircled the head and twinkled tantalizingly added a creative dimension to the latest collection. While many may say the ensembles were not totally wearable, museums will want to display them and the daring and not-so-faint of heart will long to wear them.
WATCH FULL SHOW
FALGUNI SHANE PEACOCK – ‘Raj Mahal Bijoux – The Palace of Jewels’
The bridal collection by Falguni Shane Peacock was aimed at turning the bridal couple into glamorous Maharajas and Maharanis. The impressive title was “Raj Mahal Bijoux – The Palace of Jewels” that was an ode to the heritage and tradition of the past. Referenced to ancient royal architecture, there were draped capes, sari inspired silhouettes and veils for brides with a peek-a-boo touch. Exquisite embroidery comprised delicate thread work, bead work and opulent shimmer.
Structured body con fishtail silver gowns with sheer shoulder trails, ornate Lehenga/choli/dupatta that were turned into veils, stylish cropped jackets, draped ponchos, concept sari gowns and the sudden appearance of blue denim jeans with feathered hemlines teamed with a white shirt and lavishly embroidered knee length coat created some stylish bridal wear surprises.
WATCH FULL SHOW
DAY – 4
TARUN TAHILIANI – ‘Quintessence’
Tarun Tahiliani celebrated his 30 years journey in the fashion industry with a collection that spoke his characteristic language. The “Quintessence” line was an opulent story of delicate pearl, crystal and Resham embroidery that was visualized through a modern lens. It was a rich couture offering for the bridal couple.
From structured forms to fluid drapes that had softly, sculpted silhouettes, the collection was a feminine symphony of tulle, lace and silk turned into saris, gowns, lehengas, cholis dupattas and even a frothy, flouncy flapper dress with moulded corset. There was a discreet seductive touch for corsets teamed with sheer concept saris, while luxurious sheer sleeves’ trails created magic for the corset/lehenga duos. For the conventional dresser, there were saris and bridal wear, while the Gen Z buyers would love the cropped trousers, bralettes and embellished robes.
Men’s wear was conventional in colours with ivory in the forefront, but the styles and silhouettes had varying forms. Tarun Tahiliani’s innovative skills in presenting pearls and crystal embellishments in a dramatic manner, is one of his prime sensibilities that turns his ensembles into timeless offerings.
WATCH FULL SHOW
MANISH MALHOTRA – ‘Inaya’
Manish Malhotra was part of the Hyundai India Couture Week 2025 on his own terms after a gap of over five years. He organised a couture cocktail party for his chosen guests, who stood cheek by jowl packed in a hall, where models managed to weave their way through them. The audience didn’t mind the absence of a formal runway or the seating with front row divas vying for attention.
A curated display featured ten of Manish Malhotra’s archival creations that were arranged on the ramp, where many memorable ensembles created nostalgia for the guests. From Bollywood costumes to MET Gala creations, the display was a study in fashion evolution.
But the latest “Inaya” collection was a dramatic story drenched in pearls and crystals with Manish’s latest muse supermodel Alessandra Ambrosio of Victoria Secret fame making two appearances. The cocktail couture line featured Manish Malhotra’s new take on crystal pallus, cocktail saris, glam skirts all topped with the Manish Malhotra high jewellery line. Some live entertainment almost distracted the audience from the collection, but Manish Malhotra’s couture party set the haute standard for his buyers in the capital.
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