IN THE RUNWAY KINGDOM, THE UPSTAGING IS FINAL, complete and officially acknowledged. The Show is now the queen – a powerful enchantress that draws us into a magical vortex, from which we emerge heavily star-drugged and grandeur-addicted. Fashion has been dethroned to poor cousin position, and now plays second fiddle (background artist) to The Show. Former monarch Couture – after the seizure of its glory – has, over time, faded into a nostalgic legend from the high priestess it used to be.

The second edition of the HDIL India Couture Week offered bites from a tinsel-sprinkled cake. A lot of couture’s key players were missing in action (veterans Abu-Sandeep cancelled their show at the last minute). Instead, the list included a surprise set of new ‘designers’. For five days, one could wander through the numerous lounges adorned with sparkling Swarovski décor – sipping one’s favourite poison – have oneself photographed with BMW’s latest swanky convertible, rub shoulders (and if lucky, more) with the Bollywood elite (and not-so elite) clad in dazzling creations by their nearest and dearest designer pals. And if time permitted, even watch some shows.

Glitterati
The evening extravaganzas showcased the most exquisite, exclusive and expensive fashion merchandise. This time, couture extended beyond sartorial boundaries and stiletto-ed into the glittering world of designer jewellery. The force de femme of Indian treasures – Devaunshi Mehta, Queenie Dhody, Maheep Kapoor and Farah Khan Ali showcased emeralds the size of pigeons’ eggs, sapphires that glowed like planets, diamonds and pearls that cascaded like the Victoria Falls and rubies that glittered like drops of blood. Stunning, sure, but where is the signature? Barring a few pieces per designer, most were repetitive in terms of shape, material and treatment. Ali’s side pendants (a nice touch) set her somewhat apart.

Couturier Pallavi Jaikishan unveiled her first line of jewellery along with her collection of ensembles. Countering the Chandelier School of Design, she created large, chunky pieces with uncut stones on beaten metal and strands of gold beads. Impactful, but too mish-mash and somewhat lacking in refinement. Then there were the body rocks, meaning Swarovski crystals that continued the monopoly in garment encrusting, present in almost all collections, particularly those of Manav Gangwani and Suneet Varma. Pebble-sized brilliants dazzled on Gangwani’s heavy velvets, weighing them down further. Varma’s devotion to diamantes earned him a collaborative venture with Judith Lieber and alongside jewelled net couture, he showcased a range of glittering minaudieres, including one with his initials that he proudly displayed and was seen carrying through the week.

Crafty ways
It is always about looking regal; therefore, the metallic dominance can never be overruled. Zari and gold/silver silk threads were used in dense, heavy jacquard motifs, sometimes over tissue appliqués (Jaikishan, Gangwani), or as floral patterns on necklines (Monisha Jaising), or to illusively create an airy to rich lace effect on net (Varma), or as lovely tapestry embroideries in combination with satin threadwork (Varun Bahl). Dabka was generously 3-D (Bahl) or beaten flat (Gangwani) and badla formed allover jaals on sensuous chiffon and georgette (Varma, Jaikishan). Gota emerged as pleated edging, in narrow lehenga panels or borders (Manish Malhotra). Metallic beads (Jaising, Gangwani), gold rivets (Jaikishan) and sequins in pattern or sheeted form (Malhotra, Jaising, Varma, Gangwani) completed the saga.

A prominent texturing method was devoré, on velvet and net (Bahl, Varma), ranging from intricate to large and bold. The ‘strong’ story continued in multicoloured thread gaara work (Jaikishan) and chunky bootas (almost all collections). Quilting (Bahl) and cutwork (Gangwani, Jaising) were beautifully done. Scales in metal and leather (Jaising) added some rock star glamour. Most designers layered embroidery materials and techniques to create combinations that demanded close inspection.

Fabricated
Intricate and opulent brocades and jacquards oozed luxury (Varma, Jaikishan). Silk jersey was buttery and sexy (Jaising). Wispy net, chiffon and georgette were deliciously embellished to heighten fantasies (Varma, Jaikishan, Malhotra, Bahl). Lurex shone like fluid gold (Gangwani). Velvet (Bahl, Gangwani), rich silk taffeta and heavy satin (Bahl) added subtle magnificence. Chantilly lace made many an ethereal appearance. Jaising also used men’s suiting fabrics to create impeccably tailored womenswear. But overall, no matter what weave or texture, as a fibre, silk reigned supreme.

Shaped out
With all the embellishment, most collections showed restraint in terms of form. But a trickle-up from global prêt trends was felt in couture. Neo power dressing asserted itself through padded, angular shoulders in Jaising’s dresses and jumpsuits (also Malhotra’s sari blouses and Gangwani’s bandhgalas). The obsession with origami continued in Bahl’s sharply pleated, voluminous kimono jackets and blouses – a tad Dior-esque, but excellently presented with saris and lehengas. Soft trapeze gherdar tunics defined Malhotra’s show. Gangwani played with stiff, jewelled panels and straps in cholis and bustiers.

The sari was occasionally treated like a stitched garment, instead of yardage. There were ready knife-pleated versions, gown hybrids, tiered and panelled avatars with sheer and opaque interplays. In most shows, the sari pallu was very narrow on the shoulder, sometimes only the width of a thick braid, with an encrusted brooch. Gowns were goddess-y, mostly draped and straight in fall, with sashaying strips of flowy fabrics. The lehenga varied, often in the same show. There was the mermaid (Malhotra), multi-panelled A-line (Malhotra, Bahl), straight slit (Malhotra), cowl (Jaikishan), stiff and voluminous tent structures (Gangwani) and sari-pleated skirts (Varma). Churidars received multiple makeovers; they were tightened to stockings, bejewelled, ruched, and mostly sheer.

Look here
The liberty to go all out on styling was taken seriously, but with predictable results. Saris were draped as dresses, teamed with capes, wrapped as shawls. Crystal chains galore were thrown across the body. Hair was teased and tortured to create elaborate coiffures, with the addition of plumes, petals and jewels. The flapper vixen (Varma), the Japanese Geisha (Bahl) and the ultra glam alien-princess (Gangwani) were rehashed muses. Little Shilpa’s head-piece creations for Bahl were stunningly awe inspiring, but it was a theme oft repeated. Jaikishan took the Gayatri Devi mould for her show. Jaising and Malhotra showcased their usual understated glamorous look, transported from their prêt shows onto the couture runways.

All set
Balconies, giant chandeliers, spaceship lights, decorative lamps, drapes, hand-painted ramps, latticed and floral backdrops, shamianas, doorways, arches, oversized frames, screens, windows, criss-crossed neon strip patterns and crystal curtains undoubtedly lent a dramatic character to shows. But nothing extraordinarily breathtaking or innovative in terms of décor art or architecture. Of course the giant sponsor logo thwack in the middle of the set somewhat took away from the regal splendour.

Quizzically yours
A few strange areas were difficult to understand. Malhotra showcased almost an exact replica of his fashion week collections (the peach-blush-beige-gota-georgette saga is eternal). Jaising claimed to create ‘affordable, young luxury’ and showcased what seemed to be a high-end prêt range. Ace film personality Karan Johar, without any prior showcasing, debuted as designer, at the finale! His collaboration with Varun Bahl resulted in a great first collection of stylish, high-end men’s prêt. But all this was not couture.

With everyone twisting, stretching, reinterpreting and ignoring definitions according to their convenience, the very meaning of couture is in a state of confusion. With increasing concerns regarding who is walking, who is attending, who is showcasing, the main question – what is being shown – is becoming irrelevant. There are no criteria or even a process for qualification. In fact, there is really no need to be a designer to have a show. What matter are the name and attendance.
Ah, couture. The legend is, perhaps, just expensive lore.

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