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An architectural collection, each of the ensembles came with the stamp of new India — where zaris and gotas were forgotten, but Indianness was not quite forsaken. Quilted silk twills intermingled with velvet appliqués, and faux fur and velvet came together in structured silhouettes, while georgette tassels added to the glamour of crushed corduroy. The Indian floral motifs were revisited with rosettes, and the warm palette, with reds, greens, blues and blacks, just added to the multi-dimensional look. Model Shamita lost a shoe when she came on to the ramp, but she took off the other one and completed her turn with grace. Sans drama and star turnout, it was a show that held its own. The entire look was understated, but very, very elegant.
Moments earlier, Tarun Tahiliani had showcased his own interpretation of India — with 60 years of Christian Dior in the Indian context as an inspiration — to a full house.
Tahiliani has sourced his textiles from Bangkok, London, Andhra Pradesh and West Bengal, among others. “I love drapes, so it’s important to get the right fabrics to achieve the best fall and silhouettes. Also, it’s important for me to have some Indian elements. Westerners don’t come here to look at our hats and coats. They want to see what we make of our own tradition,” said the master draper. Bloomingdale’s Chantal Rousseau, a TT fan, was quite impressed with what she saw. We too loved the drapes, particularly the sari skirts and velvet jackets coordinated with saris, but the 64 outfits that came on to the ramp were accompanied by live qawwali and a dancer, who despite the stellar performance, made the show a tad too long and unnecessary dramatic. “But what’s a show if you don’t have some fun in it. I don’t think it takes away anything from the collection,” Tahiliani retorted. Well, if he insists!
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