Sari or short shirt with churidars

Sidharth Tytler failed to make an impact when showcased after an experienced designer like Sabayasachi. A crude blend of over-the-top metallic embellishments on stiff fabrics like net and crepe in done to death traditional silhouettes of saris, lehangas and peshwaz with churidars failed to create the desired effect. Although he featured few interestingly designed menswear pieces in his collection, the overall result of his segment was flat and boring.

Meanwhile, culling the essence and emotions of Indian culture and marrying it with a modern western sensibility, Shantanu & Nikhil took a deeper, less obvious take on their new exotic fusion. Their collection oozed eternal femininity draped in rich fabrics and lush classic cuts. Encapsulating an array of sumptuously contrasted tones of royal blue, stubborn red, dusty orange with subtle exaggerations of cocoa, whites, salmon and aqua, the collection was suitable for all seasons. In short, the duo’s bridal collection was unusual, desirable and dedicated to the modern bride of today, who is confident and sensual.

The Raghavendra Rathore brand expanded its horizon by presenting Blue Mantra. The label comprised old world-inspired embroidered and printed yardages which evoked a similar sense of enigma while being inspired by the diversities of Rajasthan. However, similar to the collection of Sidharth Tytler, the menswear featured in Raghuverdra Rathore’s collection was aesthetical and more appealing than his bridal wear.

My personal opinion is that the bridal wear by Indian designers was mostly identical because they are less experimental in cuts, colour and fabric. It is always either the lehnga choli, sari or short shirt with churidars. The colour palette was also more or less the same with reds, pinks and blues, whereas in Pakistan every bridal designer has something different to offer be it Bunto Kazmi, Shehla Chatoor, Sana Safinaz, Umar Sayeed or Rizwan Beyg.

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