Luxury redefined on Day 1
Models display creations by Varun Bahl
The concept of haute couture in fashion is synonyms with opulence par excellence, and on the first day of the PCJ Couture Week 2012 the two designers Varun Bahl and J.J. Valaya presented their respective collections in sync with the central theme. The opening show by designer Varun Bahl was about understated luxury that was depicted by the finely-crafted ensembles in his fall 2012-13 collection — India, Nouveau. The designer celebrated the gloomy dark colour and created the black magic of swift saris, achkans, shararas and lehengas with fabrics like sheer, net, chiffon, silk and velvet.
The designer’s anti-thesis colour palette was against the preconceived inauspiciousness, as he picked the darkest shade to depict the newage twist in his traditional silhouettes. By mixing shades of olive green, crimson red, green and cobalt blue with the base colour he showcased his design sensibilities as a couturier in the subtlest manner.
As the rail-thin models walked in high heels with gold tassels, one could clearly see the designer’s dexterous efforts to incorporate the affluence factor through hand-embroidery, sequins and zardozi techniques. Even though Varun’s focus from the start was on black, crimson red made its presence felt in due course of time. Model Sonalika Sahay, who walked in a showstopper red-hot sari embellished heavily with gold sequins and embroidery, added the missing traditional flavour to the unconventional line.
After the alternative compilation, it was time for uber-luxe celebration of heritage. Designer J.J. Valaya, who staged an off-site show at The Grand hotel, showcased the richness of Ottoman Empire in his couture collection titled “Azrak — The realm of Sultan”. The designer created an illusion-like courtroom with bright chandeliers and tomb-shaped props on the stage.
Valaya opened his show with a gleaming black and ivory sari, and later moved on the richer colours like red, blue, green and orange. He created a lavish line of ensembles with fine silks, dupion, jacquards, georgette and velvet fabrics. With the intricate usage of metal work, zardozi, embroidery and semi-precious stones he painted the beautiful picture of monuments on the bandhgala jackets, lehengas and saris. He also churned out some fabulous sherwanis and paired them with unconventional lungis for men. The ikat weave and encrusted crystals on the outfits made the models appear like walking monuments on the ramp.
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