Khaleej Times Fashion
Editor Sujata Assomull, who’s at Couture Week 2016 in New Delhi, reviews the museum-worthy clothes made by Rohit Bal.
On Sunday night, India Couture Week (ICW) 2016 closed with a grand finale by Rohit Bal, considered one of the maestros of Indian fashion.
The designer just celebrated 25 years of his fashion label’s founding, and has probably graced more fashion week finales than any other designer in India. The standout signature of his clothes is the workmanship: especially the styling and cuts — he makes clothes that are so beautiful, they belong in a museum.
The 55-year-old designer has been in the news of late, not for his recent collections, but the statements he’s been spouting. The fashion veteran took to social media on Day 1 of ICW to talk about the state of the industry, which he described as full of “blindness and ignorance”. Bal also described some designers as “wannabes”, with “absolute disregard for originality.”
Bal certainly ruffled some feathers, especially since he came out with it on the first day of Couture Week, where he was the finale designer. But on Sunday, all was forgiven.
Held at Delhi’s Bikaner House, Bal’s show was more intimate that his usual grand productions — but it still had all the decadence you expect from this couturier. Bal is responsible for bringing back the coat, jacket, and jalabiya-style kurtas back into fashion revival. He stayed true to these silhouettes, only showing one sari.
This was a ‘top heavy’ show, with the emphasis being on blouses, jackets and capes. The men’s jackets were slim cut and so beautifully embroidered, that women on the front rows were heard commenting how they’d love to have these in their wardrobe!
The audience did not seem to mind that — as far as the silhouette was concerned — the designer was not really showing anything new. Neither did the repetitive roll-out of outfits bother them.
In true Bal style, the collection was named “Kehkashaan: The Return of Opulence” — and referenced the days of the old Russian empires.
Bal recently made a trip to Moscow, and it was obvious that the city’s heritage has impacted the designer. Tiaras and bejewelled belts were the accessories of choice, and roses his favoured motifs. Like many other designers this ICW, he used a lot of velvet and the black colour.
His collection’s signature embroidery was, as always, rooted in his native state of Kashmir.
And, making a refreshing change, there was no Bollywood showstopper. His beautiful clothes deserved to be the focus of the night. The designer also refused to give press interviews after the show.
Bal’s collection truly depicted Indian haute couture, bringing about the perfect ending for a couture week. It was for the man or woman who wants to wear art forms, and believes only in the highest form of fashion — handmade attire — immaterial of the price tag. Thus, Bal ensured the week ended on a very regal, decadent and luxurious note.
Only the element of surprise was missing, but then many designers at this ICW have played it safe, sticking to their signature styles. That could be more to do with the state of retail at this time of downturn, and a need to drive sales. It seems even the Big Fat Indian Wedding is being impacted by the economic uncertainty.