FASHION DESIGN COUNCIL OF INDIA SS19 DAY 3
POSHPRIDE
This summer we aim to rediscover the everyday wardrobe to create garments that celebrate sensuality with a touch of realism. The pieces in the collection effortlessly combine masculine tailoring with a feminine sensibility thus creating a beautiful world of ethereal mixed with the bold. A vibrant color palette and contrast of metallic along with experimental embroidery techniques creates an engaging aesthetic. Our muse is a city girl who is versatile & forward thinking but also enjoys being swept away by intrigue and seduction. Strong & carefree, she moves through the world with a sense of purpose & poise staying true to her individual aesthetic.
GARDEN ROSE
by Architha Narayanam
The collection unveils the silhouettes and designs inspired from the Iranian Qashqai tribes showcasing the craftsmanship and their handwork embroideries. The designs are influenced by merging both the crafts that of Iranian and central European tribes.The most important thing about this collection is Iranian culture is woven into western wardrobes to modernize and re invent the traditional dress. The patterns and textures are associated with Qashqai tribes. The cross stitches, Dots and distinct array of colours demonstrate the overwhelming beauty of these tribal creation.
SANJUKTA
The SS'19 collection comprises a variety of signature Mekhela Chador, structured Saree, flowy-gowns, drape-skirts and indo-western lehengas. It promises to enhance feminism and elegance of women from all walks of life by redefining the extravagant Indian traditional wear while retaining its mesmerizing essence. Please restrict all the above in a maximum of 2-3 lines. The event website will only contain 80-100 words intro hence please send information that is crisp and precise.
WNW
Our SS’19 collection “DEJHOOR” is about blending finest Kashmiri embellishments and regal Victorian motifs. It also showcases the willingness of the bride to be more experimental and still look regal.
DIKSHA KHANNA
THE ESCAPISTS:
Spring Summer 2019, Womenswear
As lifestyles reach jet speed and connective devices take over to rule our existence, it is easy to slip into a perpetual state of anxiety. More than ever, we condition our minds to switch to a parallel mode: temporary Utopias that let us escape and disconnect with things around us. A virtual pause and mute button; a holiday in our heads.
Easy urban wear and holiday styles are our coping mechanisms for Spring Summer 2019. Organic hand loom denim, sheer handwoven linen and breezy chanderi are accented with faux leather detailing and needlepoint embroideries. The shapes are part Grecian, part street. The oversized separates are the perfect cocoons of comfort that envelop the wearer.
Lull. Relax. Recharge.
THE IDEA OF SIMPLICITY- CONTRAST
THE IDEA OF SIMPLICITY - /Abhi Singh / Spring Summer 2019
The designer has beautifully intertwined his design sensibility with refined textures and innovative crafts. Rich draping and inventive craftsmanship completed with impeccable fit and finish conjugate the key facets which define the Abhi Singh ensembles.
The label stands for its uniqueness and mesmerizing style that blends with rich, lush colors detailed with textures in each and every piece.
"There are dark shadows,
but its lights are sheer strong,
It’s the state of being strikingly different
In an attempt to join two extremities.
Bringing together two extreme dots"
These anti fits silhouettes were deliberately paired with fitted inner, soft texture accentuated the fluidity. Dark shades layered to softer hue.
MUNKEE SEE MUNKEE DOO
Collection Note The Spring Summer 2019 collection is inspired by the ‘mundane’ that is often overlooked or unnoticed – sound of sheets fluttering in the breeze, the movement of clothes on a body when in motion, wind blowing through open windows in springtime. We experimented with proportions, volume and light layering. All in all, it’s a range with an emphasis on homegrown textiles, relaxed tailoring and minimal deluxe. All textiles are produced in Manipur with utmost love and care. Hand-woven lightweight cottons in multicolored checks, tribal motifs and solids form the fabrications for the range. These fabrics come in various colors – Prussian, indigo, Carolina blue, ochre, ivory and black.
LOVEBIRDS
The Lovebirds philosophy is one of considered design – blending minimal concepts with hand-crafted processes and material. The idea of balanced, refined and sensitive design is reiterated strongly this season.
Lovebirds SS’19 takes the brand to a sophisticated yet dynamic design space, using updated concepts of volume, circular form and asymmetry. This season experiments with satin organza to re-imagine our classic pieces and create unexpected new silhouettes.
The focus remains on native processes like block printing on non-synthetic and handwoven cottons, linens and silks. These fabrics use a natural dyeing process, contributing to their quality.
Stripes with textural details complement the novel cuts and layering featured across the collection, paired with strong prints and a fresh summer palette.
REVIVAL
This collection is inspired by 1960's fashion and music especially for FUNK, DISCO, SOUL, R&B AND ROCK-A-BILLY.
Arranged brand logo geometrically and express 60's psychedelic art by color combinations.
Expanded to various items. For Example : original lace, knit, print and bags.
adopted materials 100% made in Japan. Suits are made by excellent fitting techniques with being particular about the details by a millimeter.
adopted high-quality cloth. The suits are authenticity-oriented style.
They are the orthodox school but at the same time, new things are incorporated. Adopted nano coating at the first time as a custom-made suit maker.
Special material is made from Ultrasuede processed by lase to stand out shadow of brand logo. Ultrasuede is the premium and luxurious artificial leather, deployed globally by TORAY INDUSTRIES, INC.
Payal Pratap
The Sound of Silence
meandering through the forest path, the darkness surrounds;
breathing in the thick essence of pine and cedar that abound
the burst of hope that accompanies a solitary ray of light;
rainforest charm, enchanted ivy and foliage delight
taking in the beauty of the fern and the shrub;
that forest green, wild mustard, that pink rhubarb…….
A collection celebrating the secrets of the forest, the solace and beauty in the silence that lives
among the dense untamed undergrowth. Their only ornamentation being the changing scents,
colours and sounds of the forest from dawn to dusk.
The presentation has a fresh abundance of resplendent forest greens, vintage rhubarb pink, wild
mustard, strong coffee bean and pigment blue.
Fabrics take the form of hand loom linen cotton and khadi. A gradation of handwoven gingham
checks, bold handloom plaids, a play of stripes and checks with selvedge details.
Fern and foliage prints, water colour hand painted ivy prints, vintage twig and branch prints, aged
and weathered.
Soft and bold embroideries, tie dye ribbon and tape embroideries, cut work and scalloping at hems
and edges. Subtle detailing that adorns with restraint. A gentle hint of fern and foliage
embroideries peeping through in small enchanted forest motifs. Embroidered lace like hems that
finish edges. Signature Cross stitch with ferns, branch and twig motifs. French knots, and a buffet of
embroidery techniques bring in a 3D element.
Silhouettes take the form of asymmetric hems and plackets, layering, maxi dresses, patchwork plays,
pleats and peplums. Overlays and sheers, an easy, away from the body feel, summer jackets,
peplum jackets, mix and match of checks and stripes, carefully mitered seams and zouave jumpsuits.
A versatile collection, where each piece can be used as a separate as well as with layering.
Handmade peep-toe footwear in soft leather and hand cut forest log hoops and bangles.
An exploratory mood, that evolves the brand into a space and feel that is simpler, delicate soft,
dreamy, feminine and as always contemporary and relevant.
A collection that is vocative of the Robert Frost sentiment “the woods are lovely dark and deep”
RAHUL MISHRA
GOSSAMER
Spring Summer
White, pristine, unblemished
They say it is not a colour
I love white mists, clouds
Lingering on blue mountains.
- John Mathew
That old white curtain that shielded us from the world reflects only the stories of a place that exists in memory. No longer does it hang on the broken door in that room where we rested in the afternoon and dreamed about places beyond where snow fell on the trees and coloured landscapes white. Those afternoons became filtered light, a diffused state of being with the gossamer delicacy of those white curtains against the world.
Do you remember what they say about the sins of forgetting? They say sea will deceive you with mirages like the desert. White and unyielding and treacherous in its beauty. Those were the stories told in those rooms so we would never forget where we came from. They said don't commit the sins of omission of memory. Or of dreams. How do you preserve the memory of home? By reconstructing the sights of childhood in varying gradients, like a child would sort out a zig saw puzzle.
I didn’t forget. But I didn’t remember either. When I was shopping for curtains for my home, I stumbled upon the Daraz work on white bedcovers. I cut them up to make curtains. And I remembered the great steel trunk where my mother stored these white curtains and pillows with Daraz work, a craft that is dying now. I remembered the weavers who wore the blue and white chequered lungis. I remembered my grandmother who wore Maheshwari saris and cotton lungis. And that’s how I began to explore my intimate relationship with the things of my childhood - the pillow covers, the curtains, the table cloth.
I wanted to take the craft of Chikankari and Daraz and elevate them to luxury fashion. Because memory is a luxury. The way we hold on to smells, colours and textures. Fashion, to me, is an expression of what makes me. As a nostalgist, I want to bring back the 1980s in colour. When memory’s floodgates are opened, you are confronted with the precision of details preserved somewhere in your being. In an imagined sequence, hazy in parts, bright with sharp colour palettes in bits and even rendered in whites. In absentia, memory asserts itself in such interjections.
The textile development for the collection has its own narrative that emerges from the collection’s theme. The fine cotton was woven in West Bengal. The Maheshwari textiles in this collection with their blue and white checks are an ode to memory of the village and also my growth as a designer working with weavers.
Gossamer, they say, is the very thin thread spiders produce to make webs. These are the threads of memory from which we have woven this collection.
