NO MONKEYING AROUND

dress, tassels detailing a sleeve and fluorescent splashes of colour on patchwork hoodies. The duo used Phulia khadi, Chanderi and Malkha fabrics, almost like an accidentally orchestrated symphony.

In contrast, Anavila Misra’s tableaus for “The Sari in Us” was measured, colour coordinated and delicately composed. The designer wanted to emphasise how the sari is a drape for every season and occasion and created striking sections of saris meant for romantic dates, work appointments, festive splendour or for girls-on-the-go. Misra kept the narrative contemporary with cropped blouses, casual collars and pockets, jackets, belts, even ties.

He has put cows, flamingos and tigers on his celebrated Raw Mango saris. So, for Sanjay Garg to add an animalistic motif to his signature line might not be counted as an unusual occurrence. But that the animal was the monkey, and not the more traditionally accepted elephant, parrot or peacock, did give an interesting slant to the proceedings. While his work with saris has always been about demystifying and simplifying an intimidating drape, Garg’s entry into occasion wear was marked by an esoteric delving into the traditional clothing techniques of India. “Monkey Business” marked a subtle shift in that sensibility. The monkey motif appeared in the form of weaves and digital prints on roomy jackets, strapless dresses, wide-leg trousers and sari drapes. Kadwa brocade tunics met engineered panel skirts, mashru striped high-low tops, tissue blouses and trousers. Garg’s progression from inherently traditional silhouettes to a more contemporary approach has been gradual and organic and the monkey added some much-needed humour to the mix. The colour palette of greens, golds, browns and maroons was unpredictable, but it could have also been the harsh floodlights in the parking lot of the St. Regis, where the show was hosted, that distorted shades. We couldn’t tell if the pleated trousers we adored were a sunshine yellow or mealy mustard.