The Dominators ROHIT GANDHI + RAHUL KHANNA Notes: This was their most complex line till date. Challenging, because of the number of concepts that they tackled within the collection, held together by safety pins. There were stories within stories – layered in more ways than one, each piece deeply detailed. Bodysuits under sheer dresses, jackets with multiple lapels and flaps, metal pailettes, ribbon webs, fringes and a whole lot of other design elements that were melded into a razor-edged range. Monochrome is a great binder; it somehow prevented the collection from scattering. A power-dressing disco-hopping intergalactic Samurai chick with a fetishist bent who wants to take over the world – a menacing visual. You feel a sense of doom, but are at the same time, drawn. Plus points: The constructions, fits and finishes. The sheer and opaque plays. The detailed jackets. Sequinned ‘liquid metal’ dresses – as though painted on to the body. More scope: Too many elements and concepts – almost like waging a war with all the weapons in store, all at once. Everything was crammed into the available space. It seemed like they were really showing off. Future: Filter and simplify. Include some break pieces.
	The Visualisers PANKAJ & NIDHI Notes: The graphic artists have figured out their magic formula, and they stuck to it. But this time, instead of following their usual direct route to the holy grail, they zigzagged their way through disconnected pit-stops. What began with Islamic latticework motifs ended in a dramatic display of electric lights. In between, there were scallops, cane and mat weaves, ornamental trellises and light bulbs – the connecting thread being ‘geometry’, as the press note said. As bewildering as the tour was, the execution of pieces in a variety of materials was admirable. Today’s surface designers think in 3D; the body is their frame and to play with shape through surface requires more than an aesthetic eye. And four eyes are better than two – the duo continues to prove. Plus points: ‘Lasercut’ effect flat ribbon Islamic motif pieces – not the easy way out. Graphic thread embroideries – illusively like print. Rugby style tank tops. Appliqués of coated faux leather. The 3D cogs and wheels texture. More scope: Too many stories within the range. ‘Geometry’ was not a convincing connector – too loose. The ‘circles’ section – somewhat student-ish. The electric lights at the end were visually interesting, but unnecessary. Future: It is not about how much you showcase, but how you do so. Storytelling is a skill that requires brushing up.
	The Storyteller ANAND BHUSHAN Notes: With every collection, Bhushan has attempted at exploring new territory. This season, he tried his hand at a tricky area – restraint. Difficult for someone with a penchant for excesses, but he pulled it off. The result was opulent, not ‘show-off’ lavish. Laborious and expensive texturing once again starred in the lead role, but the clean shapes were also a nicely supporting cast. The many different surface stories had a connecting thread; their presentation had a flow. Bhushan seems to be finally getting comfortable with himself. It is a new maturity in his work. Plus points: The non-literal, urban interpretation of his tribal theme. The well planned colour story – a masterstroke. The kooky wire loop jackets served as nice breaks. More scope: Lasercut textiles are all over the place – for a progressive texturist like Bhushan, this was a step back rather than forward. The drapes seemed forcefully put as a display of ‘skills’. Future: The assertion of an Anand Bhushan signature.
	The Lyricist NIKASHA Notes: Nikasha Tawadey returned to the runways after quite some time. Not many changes since her last presentation; the overall look was carried forward from her past collections. The soft trapeze tunics, draped Patiala salwars and ruched kurtas re-emerged in chiffons and georgettes bearing the Nikasha house aesthetic. This was not a long stride forward; rather a small step, but there were newer additions of thoughtful detailing that tweaked the staples into value-added pieces. Like the asymmetrically draped Patiala salwars. Or the careful positioning of a dip-dyed area or a tie-dye motif. Or the contrast, shaded linings. It was deeper, more personal this time. Plus points: The planning and flow of the colour story. Small surprise elements – a single shaded sleeve on a pristine cream piece, a large tie-dye motif on one leg of a trouser, the sudden emergence and disappearance of turmeric yellow. More scope: The fabric board required new additions. The overall look and shapes were all too familiar. Some drapes looked DIY; so did the accessories – there were far too many of them. Future: Variety – fabrics, shapes, structure. Move on.
	The Predictionist MORPHE BY AMIT AGGARWAL Notes: It is a volatile world; we live in constant fears of terror attacks, nuclear war, global warming, pollution led catastrophes and the end of the world (cross our fingers for 2012). We all wish for a safe cocoon. Aggarwal’s inspiration may or may not have been our collective paranoia. But fittingly, the key piece on which his entire collection was based was the life jacket. Vests, bombers and chest-guards also referred to the ergonomics of blast-proof, flame retardant and bulletproof clothing, but they were high drama versions for a fashion comment. For aesthetic purposes only. Using insulation and inflation as his design guides, Aggarwal crafted his pieces from high-performance fabrics, trapping air in ducts and channels. The raised areas were sometimes covered with metallic yarns, while other pieces were left translucent. A very space-tribe line-up. If doomsday does arrive, maybe we will need to migrate to another planet. Plus points: Metallic surfaces – the dense covering of fine yarns gave the impression of human hair. The air-trapped, translucent pieces that softly filtered light; heat textures added detail. The under-dresses with sheer and opaque patterns. More scope: Very limited product offerings. Hardly any play with dress lengths. Rail translations not included. Like every season, things deliberately remained within the ‘art’ circle. Future: Show us the concept to consumer route.
	The Mentalist SANCHITA Notes: This was Sanchita Ajjampur on an acid trip, but without the intensity overkill. A gamut of colours, sparkly crystals, borderline psychedelic prints, sequins, feathers, ‘fun’ surface embellishments – everything under the sun, or under the strobes, made for one big mad-mash. If her past collections have given off an ‘I don’t care’ vibe, this one stated ‘I really don’t care!’ Not in an angry rebellious way; more like a nonchalant shrug with a half-smile. Printed satin ‘nightsuits’, or pre-thanksgiving turkey skirts, or tops which one should not wear in the slightest chance of a breeze, or bling that puts Diwali to shame. But somehow it all came together and worked. How, do not ask. That is Sanchita for you. Plus points: The swimwear section – styled with giant sack turbans. The very simple, printed one-shoulder dresses – fun yet elegant. A pink and plum flowing gown. Crystal embellished ballerinas. The great mood of the show. More scope: Because of similar fabrics and slouchy, drapey shapes over the seasons, the overall look has remained the same. Most of the handbags did not go with the clothes and looked like a forced accessory presentation. Future: A detour from the hippie trip.
	The Reliable VINEET BAHL Notes: How to execute a prêt collection – tutorials by Vineet Bahl. First, the golden rule – keep it simple. Second, a comprehensive range plan of separates. Third, cater to varying body types, to extend your customer base. Fourth, insert just about enough detail in each piece to keep it out of high-street reach. Finally – the prime principle of a good prêt line – to stretch the worth of each piece, as in, the mix and match scope. Bahl’s lines are always gold for the rails; this was no exception. Cleverly planned, well styled, with something to offer to everyone. As trans-season grows prominent as the new reality, he offered enough scope to layer for slight chills, while still keeping things essentially summer. Plus points: The use of kalamkari as panels and detailing – urban without going the ethno-crafty way. Bahl’s colour sense – touches or specks here and there added small twists to the outfits. More scope: While everything was well done and pleasing, there were no ‘moments’ in the range – pieces that would keep one talking. There were no risks. Things went by in a ‘pretty’ haze. Future: Find a voice and make a statement.
	The Therapist SAVIO JON Notes: A vacation near the sea is just what the doctor ordered, and Saviojon Fernandes delivered as per prescription. The tranquiliser of a show took effect from the first exit itself; an almost holistic mood enveloped the audience. Mostly devoid of surface texturing or print (save some tie-dye), the purity of just fabric gently asserted itself. Fluid silks clung to and billowed at the right places. The movement of the body underneath cloth has been the subject of poetry for centuries; the slipdresses, maxis, shirtdresses, tunics and flared trousers put the theories in motion – just as lucidly. Feminine to androgynous to resort-grunge – it was the establishment of a soft yet powerful sensuality. A minimalist pill, with maximum aftereffect. Plus points: Cutout backs in jackets and dresses. The ‘fisherman’s net’ pieces. Shirt knots. The cleverly calculated cuts, grains and hem widths beautifully balanced volume and movement while still keeping things streamlined. Point to note: The same Saviojon elements returned after two years – fabrics, shapes, layering, shirt details, fisherman inspirations, even colours. The lack of anything new even after a prolonged hiatus is something to think about. Future: A shift from his comfort zone. Tranquil should not be taken to the point where we drift off. Hopefully, this is the calm before the storm.

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