Resort recipe 2017

The jacket skirt pairing seems to be the leitmotif at Resort 2017 seen at Oscar de la Renta, Chanel, Sonia Rykiel and Bottega Veneta. Designers across the board presented them in mismatched tweed and luscious jacquard. Here’s the lowdown on some key trends which emerged…




Focus: Che Guevara
Highlight: The iconic Che Guevara beret was the talking point which was given a luxed-up shiummery treatment complete with camellias – the Chanel insignia. Models walked in flip-flops, brogues and slides wearing black jackets with wide-legged cuffed trousers. ’50s car prints were revived seen on skirts, swimsuits and off-shoulder tops. It won’t be too long when we see high street labels lapping it up.

Bottega Veneta



Focus: Outerwear and tailoring  
Highlight: Bold solid colours – yellow, red and green gained focus appearing on skirt suit combs, trench coats and top coats. The line stood out thanks to stripes, pastel colour blocking, long silk jersey dresses and creamy lambskin coats. Most of the looks were completed by tortoise shell wayfarers and sling bags.

Oscar de la Renta



Blooming florals have always been on the de la Renta moodboard but this collection’s patchwork mix of tweeds, prints and jacquards made it all the more arresting. Tiered dresses with contrasting belt, jacket skirt combos nipped at the waist by slim belts and floor-length off-shoulder gowns tied at the waist with contrasting sash made for a visual treat

Snake swag

If you thought Julianne Moore’s Cobra-inspired Givenchy at Cannes was a one-off sighting, think again. A few days later, Kendall Jenner slithered in a sheer and almost naked Cavalli Couture gown, which had snake-inspired embroidery crawling all over. Gucci’s artisanal runway saw two outfits, which had snake prints and applique embroidery referencing the mystical serpent from the Garden of Eden. In fact the Italian label’s fall 16 menswear outing featured a snakeskin pantsuit. Dries Van Noten’s too couldn’t resist the allure of the seductive reptile in his Fall 16 outing.


US model Kendall Jenner poses as she arrives on May 15, 2016 for the screening of the film “Mal de Pierres (From the Land of the Moon)” at the 69th Cannes Film Festival in Cannes, southern France.

Actress Julianne Moore poses on the red carpet as she arrives for the opening ceremony and the screening of the film "Cafe Society" out of competition during the 69th Cannes Film Festival in Cannes

Actress Julianne Moore poses on the red carpet as she arrives for the opening ceremony and the screening of the film “Cafe Society” out of competition during the 69th Cannes Film Festival in Cannes, France, May 11, 2016.






Dries Van Noten

Demystifying Cannes Chic

Day 1 highlights …

Day one of the 69th Cannes Film Fest saw oodles of pastel tones, heavily embellished and embroidered gowns with billowing trains. Besides the rich surface texturing and cut-work detailing on the outfits dazzled the red carpet causing a pap frenzy of sorts! While Naomi Watts looked elegant in an off-shoulder lilac embellished Armani Prive gown, Blake Lively looked divine in a cut-work and embellished Versace number. Julianne Moore made quite a statement in a shimmering Cobra-inspired Givenchy dress for the premiere of Cafe Society as did Bella Hadid in her shimmery and strappy Roberto Cavalli couture gown. Here’s the lowdown on the fabs and the drabs so far…

Who sizzled 
Frothy fantasy

British-Thai actress Araya Hargate

British-Thai actress Araya Hargate owned the red carpet in a voluminous and decadent Ralph & Russo couture gown.
Femme fatale
Cast member Blake Lively poses on the red carpet as she arrives for the opening ceremony and the screening of the film "Cafe Society" out of competition during the 69th Cannes Film Festival in Cannes

Blake Lively

Blake Lively was a vision in a sheer and cut-work Versace gown which had a lot of surface texturing and train detailing. She left her hair open and opted for a side-parted blowdry.
Tantalizing train 

Italian model Bianca Balti

Italian model Bianca Balti posed in a tiered Alberta Ferretti gown with a cascading train. The center-parted hair and a pair of dangler earrings completed her look.
The White Knight
Actress Eva Longoria poses on the red carpet as she arrives for the opening ceremony and the screening of the film "Cafe Society" out of competition during the 69th Cannes Film Festival in Cannes

Actress Eva Longoria

Eva Longoria wore a figure-hugging Pamella Rolland gown with a train. The bust and sleeves had a lot of surface texturing.
Dapper dude
Justin Timberlake and Anna Kendrick pose on the red carpet as they arrive for the opening ceremony and the screening of the film "Cafe Society" out of competition during the 69th Cannes Film Festival in Cannes

Justin Timberlake

Justin Timberlake cleaned up rather well and posed in a sharp tux. A white pocket square and a pair of patent leather shoes added to the dapper finish.
Hissing Cobra 
Actress Julianne Moore poses on the red carpet as she arrives for the opening ceremony and the screening of the film "Cafe Society" out of competition during the 69th Cannes Film Festival in Cannes

Actress Julianne Moore

Julianne Moore channeled her animalistic side in a statement-making snake-inspired dress by designer Riccardo Tisci for Givency. The gown was an interesting study thanks to its interplay of texture and sheerness.
Sex on toast

Dutch model Doutzen Kroes

Dutch model Doutzen Kroes’ Brandon Maxwell black gown had a deep neck and a slit at the thigh.
Who fizzled 
Frumpy dumpy
Kirsten Dunst

Jury member Kirsten Dunst arrives for the Opening Ceremony at the 69th international film festival, Cannes, southern France

Kirsten Dunst didn’t do justice to her Gucci gown. The overall effect was bland.
Sheer cheer
Director Woody Allen jokes with cast member Kristen Stewart on the red carpet as they arrive for the opening ceremony and the screening of the film "Cafe Society" out of competition during the 69th Cannes Film Festival in Cannes

Director Woody Allen jokes with cast member Kristen Stewart on the red carpet

Kristen Stewart’s sheer Chanel dress lacked the punch and seemed more suited to a cocktail party than the Cannes red carpet.
Not Spicy enough
Fashion designer, model and singer Victoria Beckham poses on the red carpet as she arrives for the opening ceremony and the screening of the film "Cafe Society" out of competition during the 69th Cannes Film Festival in Cannes

Fashion designer, model and singer Victoria Beckham

Victoria Beckham’s monochrome was more suited to a casual outing than a formal red carpet event.

‘Social media is the most anti-social form of communication’

In an interview with Made To Pleasure, Fern Mallis, international fashion industry consultant and creator of New York Fashion Week talks about the impact of social media on fashion and the popularity of trans-seasonal offerings…

Clothes are increasingly becoming trans-seasonal. Spring looks like Fall and vice versa. Please comment.
There are some obvious fall winter and spring summer clothes. When I was growing up in New York, I always had a small apartment, we didn’t have big closet space. My parents lived in suburbs. I remember every season, my dad would come into the city and would take my winter clothes, put my clothes into the car, put them in the closet.
As you grow older, you realise, once you start to travel, you need your summer clothes everywhere you go. As time has evolved, I’ve realised that there are clearly sweaters and bulky things in my closet but there are summer things, which I wear all the year round. With air conditioning and heating, it’s not how it used to be. You can put a bunch of layers on. Of course, there are days, when we have blizzards in New York and horrible snowstorms. You pull out the emergency clothes – big boots. Two days later, it’s sunny and warm. It’s crazy.

‘Nobody is looking at the clothes’

Do you agree that social media has made fashion democratic?
Social media has changed everybody’s life and fashion is no longer a close secret. Fashion has become content for everybody. What I find completely maddening is – going to fashion shows and nobody is looking at the clothes. Everybody is taking pictures and taking notes and when you look up, the looks have come and gone. You’ve missed some great looks on the runway. I have an assistant, who’s snapchatting, who posts videos, edits them and I’m like, ‘Stop that. Do that later’. People have a low attention span. It can wait for 10 minutes. Who are you beating? Who are you trying to get the message out before? When I get back to my room after the show, I wonder should I still put that on my Instagram because Instagram is supposed to be instant. That’s crazy!
I did an address three years ago. There were 4000 FIT grad students and families. I told them, you all have the world on the palm of your hand. It used to be a really nice expression but it’s now taken on a completely new meaning. I said, in the palm of your hand, you can bring down the government in the Middle East, you can have a dictator destroyed, you can book a plain ticket, you can open a garage door and shop for groceries, you can get a car anywhere in the world. You can transfer money and pay bills. It’s extraordinary what you can do on the palm of your hand. Social media to me is the most anti-social form of communication in the world because you go to a dinner, they are all busy on social media and nobody is talking to each other. They are not liking, linking or sharing anything. They have really bad grammar, not want to spell anymore. I looked at this group, they’re all in their caps and gowns of graduation and I said while while I’m talking to you, how many of you have tweeted something or tweeting. All the hands went up. I asked, how many of you have Instagrammed something? How many people posted things on Facebook? Then I asked, how many of you picked up a real phone, a landline and called your parents and had a real conversation, listened to what they said, paused and came back with an answer? A text is not a conversation. It’s quite an interesting phenomenon. My grandnephews – they see something, they touch it and move it on screen. It’s interesting where this is all going.

‘Need standardised sizing, standardised fabric label’
India has always been a country of embroideries and embellishments but none of the India designers have known to be great cutters. Why is that so?
You tell me. I don’t know. I have been trying to figure that out for 15 years. I don’t know if schools aren’t just teaching it here. A lot of designers think they have a label and they don’t work for other people. All the big designers all over the world worked for somebody – they learnt how to manufacture, how to cut, produce and sell. These people have talent and skill and they’re learning as they go. There are businesses which need structure. When I used to bring buyers here from Saks Avenue, they loved some of the things. What they need to do, in order to do business with them – at that scale internationally, they need standardised sizing, standardised fabric label, how to take care of them, wash and launder them. You need compliant factories, fair trade laws which are worldwide. They need to have a business partner, who picks up the phone and responds to emails. I can tell you how many people here (in India).. mailboxes are full and nobody responds. If you’re doing business with Neiman Marcus, you better respond to that email, if you want to be on their vendor list. You need to tell them you’re going to ship it. You can’t screw around. It’s a real business.

Do you think Indian designers lack originality?  
Things are always recycled and reinvented. What’s original anymore? It’s how you do it? There’s talent here. It’s frustrating that you don’t get it overseas. Whenever I wear anything from here, people always ask me – ‘where did you get that?’ I think there’s still an opportunity.

Unisex has emerged to be the next big category.
Athelisure is the biggest category happening now. All you see now everywhere in Mumbai – Puma and Adidas shops, Nike stores. You can take gym wear to a party if you know how to pull it off.

Do you think labels like Dior will follow the Gucci – Alessandro Michele template? 
Gucci seems to be a successful model of that but we’ll see how long they’re doing that.

‘We cleaned up the runway’
What have been your key learnings over the years?  
When I was working with Lakme Fashion Week, I’d bring in new ideas, ‘let’s try this and that’, even changing some of the seasons of showing. Focus more on resort than fall and winter. We slowly but really cleaned up the runway and production value. I haven’t been here in six years so I can’t comment on how they’re doing it. Getting better lighting on runway, trying to make shows run on time.

‘This obsession with consuming – I don’t endorse it’

In an interface with Made To Pleasure, Le Mill‘s dynamic founder & owner, Cecilia Morelli Parikh opens up on her business model and philosophy.
Cecilia-Mumbai-042 - by Gaelle Le Boulicaut

Cecilia Morelli Parikh, Founder & Owner, Le Mill (Photo: Gaelle Le Boulicaut)

Le Mill makes for any interesting study in Indian luxury retail landscape. While fashion business across the board has been badly affected, it’s amazing how this unique concept store has managed to keep itself up and running. So what’s the success mantra? To begin with, it’s a style mecca, where international luxe labels like Peter Pilotto, Mary Katrantzou, Stella McCartney, Balmain, Alexander McQueen and Balenciaga have an interesting dialogue with Indian home-bred labels like Bodice by Ruchika Sachdeva, Shift by Nimish and Eka by Rina Singh under one roof. This clash of contrasting aesthetics and ideas has been the heart of Cecilia Morelli Parikh’s store philosophy. Which brings us to the question – Who’s the Le Mill consumer? What fits into her summer and travel closet? And most importantly, why would she want to shop in India when she’s travelling all the time and can shop abroad?

Le Mill Store  (3)

Le Mill store

Le Mill Store  (5)

Sprawling interiors of Le Mill

I meet Cecilia at the Melora jewellery showcase in one of the industrial hubs of the city and we discuss every burning topic in fashion under the sun currently – the see now, buy now craze, talks of reforms in the runway-to-retail format, the perks of tax refund abroad and the elusive Indian luxury buyer’s demographics. Being half-French and half-Italian, creativity has always been part of her DNA. Ms Parikh has always looked at design as an expression of the self, of function but also of a national mood and aesthetic. Working as a buyer at Bergdorf Goodman was her version of business school. Her mentor Jennifer Sunwoo always gave her tremendous responsibility and was the first person to teach her to look at fashion as a poem of numbers and creativity. Over to the inspiring businesswoman…
Look available at Le Mill (3)

Looks available at Le Mill

Indian luxury retail has always been quite complicated. How has been Le Mill’s evolution over the years? 

Le Mill has gone through so many different personas. We’re finally sure of who we’re and comfortable with who we are. In the beginning, we wanted to have a mix of Indian and international and then we went to being fully international. Now we’re back to this mix of home-bred and global, and the reason for that is we really tried to listen to our customers and learn from our customers in the last five years. The reason why we’re still around is because we’ve adapted so much and so often until we were confident that we knew who we were and even our customer knew who we were. I think that was really important. A lot of international clothes we buy are for events – parties, even Sunday brunches. The idea is if you’re going to spend on a dress from an international designer, you’re going to spend a little more and you’re going to want someone to see it… And what we have done with Indian designers we carry is we’ve made sure that they’re relevant for day wear. Eka, Shift, Bodice – these are brands, who’re really thinking about – ‘what do I wear in Bombay with heat, smog and the traffic and all of those issues’. And that’s what I love. Mixing these things.

Look available at Le Mill (2)

An array of nifty clothing and accessories available at Le Mill

The other reason that we’re able to be still around is that we have really loyal customers. When you buy from Le Mill once, you always come back and that’s been key. We’ve grown our customer base slowly. I tell my team, every time you get a new customer, it’s like a victory for the day because I know that she’s going to come back. I spend a lot of time, money and energy on service. The big differentiation – what we can offer here India vs the shopping experience in Dubai. I’m never going to be able to be Dubai Mall and I’m never going to be able to be Bond Street but I’m going to be able to offer incredible service – whether it’s home shopping or flexible payment terms. When you’re travelling to Dubai or Hong Kong or London and when you come back to India and realise it’s (your purchase) not okay. How do you return? You can’t! These are the things I hope would make a difference in the long run.
Look available at Le Mill (1)

Shop this look at Le Mill

Pricing has been a puzzling issue. How have you managed that? 

At Le Mill, we keep ourselves on par with Europe. You can go online and check and despite the currency fluctuation, we could be 10 per cent less or 10 per cent above but we’re never more than 10 per cent up than Europe. I have someone in my office, who spends time googling prices at and to make sure we’re priced competitively. The tax refund is impossible to beat, to be honest with you. I would caution people, who’re doing too much tax refunding because now the Indian government has started following people. Theoretically you get that tax refund and you should then be paying duties in India, which nobody does. We’re doing so much by absorbing the import duties already and therefore pricing ourselves on par with Europe, which a lot of other luxury brands in India are not doing. I think that’s making a difference to our sales.

The best feedback I get from the people, who shop at the store is they’ve worn it so much. ‘My god I have got some much wear out of it’. I love that and that’s why they’re coming back because they think these are not empty purchases. The idea of a multi-brand boutique is, it’s curated. That intention in our merchandising is translating to our customer.

Lakshmi Menon in Balenciaga for Le Mill SS16 Lookbook

Le Mill SS 16: Lakshmi Menon in Balenciaga

Who’s the Le Mill customer?
The HNI (High Net worth Individuals) – the wealthy lady, who doesn’t work, who has a lot of social engagements so needs a lot of clothes. She’s of course an important customer for us. She doesn’t think so much about – ‘Can I get that in London? Can I not?’ She doesn’t have time, she’s probably hosting a work dinner for her husband’s business associates.
Then there’s the working woman – she’s younger and doesn’t shop that often but maybe she has an important function that weekend. And then there are consumers coming from second and third tiered cities to Bombay and are not confident of shopping abroad because they’re not getting the service. She’s not been considered a client when she goes to Harrods or Selfridges. She’s maybe looked down upon over there and feels comfortable shopping in India. That’s the customer we need to think most about and nurture as much as we can over here in India.

Lakshmi Menon in Balmain for Le Mill SS16 Lookbook

Lakshmi Menon in Balmain for Le Mill SS16


‘Fundamentally, India is not investing enough in their winter wardrobe.’

Spring today looks like fall and vice versa. Do you agree that fashion is increasingly becoming trans-seasonal?  

When we are shopping fall winter collections and ordering them for the store – 50 per cent of the assortment in the showroom is disqualified from our buy because it’s too heavy. Ninety per cent of what we have at Le Mill is very lightweight. At the store, I have a surplus of cotton and linen dresses that women can wear in this boiling heat. I think about that a lot. Also, a lot of our customers are travelling. The worst thing about living in India is – ‘OMG, it’s December and wonderful here in Bombay but I have to be in London for the weekend and don’t have a coat’. Fundamentally, India is not investing enough in their winter wardrobe. It’s a shame because when they get to London they are not making the same fashion statement they’re making at home. I think about ‘buy now, wear now’ constantly. That’s fundamental to what we do.
Unlike when she goes to London in May and buys a year’s worth of clothes, which I find a bit concerning. We think a lot about the fabrics. I also feel that whatever she’s buying from us, she should be able to keep it for 10 years. I don’t believe in discarding garments. I believe in nurturing the clothes and finding them again eight to 10 years later, kind of falling in love with them all over again.

Dress by Stella M, bag - chloe

Dress by Stella McCartney and bag by Chloe


‘Saint Laurent Fall Winter 2016 show was a commentary on immediate consumption fuelled by social media’

What’s your take on the newly-proposed runway-to-retail format? Brands like Tom Ford, Tommy Hilfiger and Burberry have opted for it, however, Paris hasn’t been open to it. 
Chanel won’t do it ever because there’s so much R& D that goes into it. If you think about the whole production chain – it would mean we as buyers have to commit to clothes six months earlier, which would be possible, if fashion took a six-months break. Alexandra Shulman (British Vogue editor) suggested that we take six months off, close our stores, close the magazine and do nothing. Recalibrate. It’s good for some brands but not for all brands.

I think that the fashion industry needed to be disrupted but I don’t think everyone’s going to do it. I think everyone’s going to watch and learn from each other and there will be some sort of a middle ground. I don’t see Chanel doing that for sure. I also don’t understand why it’s such a problem for people to have to wait for six months before they receive something. I’m a bit disconcerted of immediately getting what we see. At Saint Laurent Fall Winter 2016, (Hedi Slimane’s last show) – they had no music, bright lights and models walked in carrying numbers like they did in the ’50s. That in itself was a comment on how we immediately want something we see on social media.

Even on my Instagram, I have stopped instagramming from the showrooms because I feel that let’s instagram what we can get right now, how we can consume currently. What we see on the runway is influencing what we want to wear but that’s continuity, that’s logical to me. This obsession with consuming – I don’t endorse it.

Maxi dress by Mary Katranzou
‘I’m inspired by everyone and everything around me’
You’re half-French and half-Italian. How much has living in India and Indian aesthetic rubbed off on to you?
India has influenced my style because I love jewellery. I never loved or wore jewellery until I moved to India. I feel naked if I don’t leave house without some sort of jewellery now. My style is constantly changing. Obviously, I love fashion. I’m inspired by everyone and everything around me. But I’d say jewellery is the biggest influence from India on me.

Lakshmi Menon in McQueen for Le Mill SS16 Lookbook

Lakshmi Menon in McQueen for Le Mill SS16


‘Fashion may have slowed down a little bit and what’s happening at Balenciaga is a testament to that.’

Having attended fashion weeks around the world, what have been your key learnings
The best thing about fashion week is meeting other people from the industry. Otherwise, you’re thinking about marketing, you’re concentrated that way and you’re living in the bubble. When you go to a fashion week, you sit with a merchandiser from Turkey or a buyer at Saks and you share ideas. The woman is universal – she may have her eccentricities in Turkey, individualism in India, which I find inspiring. I am always inspired by clothes. The industry had gone through a bit of a slump and I am really interested in the idea of fall winter – this idea of return to the garment, understanding how important the garment is as opposed to…
Fashion may have slowed down a little bit and what’s happening at Balenciaga is a testament to that. This show was incredible. I didn’t love the runway show and then I saw the clothes in the showroom – it was couture done in a prêt way. I saw this oversized denim jacket – it was stitched in a certain way that it can be worn as an off-shoulder jacket. It really fit as an off-shoulder piece. Demna Gvasalia is transforming the garment and he’s making the garment about the attitude. It’s brilliant and it’s fundamentally Balenciaga, if you go to see. What Cristobal did, that’s what Demna is doing. Intellectualism is coming back into the industry – which is much-needed after a period of frivolity or overindulgence.

“Dior is in the details”

Luxurista Kalyani Saha Chawla talks about her prolific career and growing Christian Dior in India phenomenally, over the last 10 years…



Kalyani Saha Chawla, VP – Marketing and Communication, Christian Dior Couture has been eclipsing the world of high fashion and Indian luxury with an unfailing regularity. Her sixth sense understanding of luxury retail combined with rich and diverse experiences at a plethora of international brand makes her the most envied and admired businesswoman in the country today.
Besides, her distinctive sense of personal style makes her a regular fixture in every style list ever compiled in the country. She’ll wear an ornate Anamika Khanna creation with nifty Dior accessories like a potent cocktail and rarely misses a style beat.
Her deep and personal relationship with the Bollywood royalty has ensured that Dior has been the most visible brand on the red carpet over the last decade.


Making Dior a part of Bollywood style vocabulary – with Kangana Ranaut

The serial entrepreneur and multi-tasker been an exporter for 13 years. From sketch board to the shelves – she has a 360 degree view with her past experience in export, dealing with luxury and high street retail giants, to running her own lifestyle boutique in Kolkata for years. “I have learnt from the best, which is Experience. There are various nuances which are involved. You can’t make a success today of anything unless you have a business acumen. You have to find key factors to be that voice and vehicle.”

Turning sari into gowns


Sonam Kapoor rocks Dior in Aisha

She found Bollywood 10 years ago, and turned the sari into gowns on the red carpet. She understood Bollywood’s strongest and most powerful reach, not only in India but globally, before anyone else did. “They have been recognised internationally in so many levels of achievement and honoured. I have been very fortunate to have built up relationships over the years, which has been hugely beneficial in terms of visibility and making Dior popular outside of the obvious audience. That’s where the business is. The non travellers with the resources and the knowledge and awareness today thanks to the media which has made fashion in general such an integral part of our daily lives!”

My learning at Dior


Raf Simons’ debut Christian Dior couture collection

“What I learnt at Dior, I couldn’t have learnt anywhere else. Dior is in the details! I have learnt so much from visual merchandising to merchandising itself to having the most perfect events. The two events Dior had, one in Bombay and one in Delhi, the invitees still reminisce about and the ones who missed it are still regretting it! It’s just the scale and the essence of the way this brand works, it’s been such a high to be part of this learning. My exposure on a global basis with many events from New Delhi to New York, London to Paris and Tokyo have today enriched me in every possible way, with experience and practical knowledge which is invaluable,” she shares.

We work for Dior


One’s keen to ask about the change of guard at the hallowed couture label. Over the years, Dior has seen so many designers come and go – from John Galliano to Raf Simons. So what has remained the same?
She says, “The brand is always bigger than an individual. We work for Dior. Every brand goes through the change of guard. I think a change is always good in a way as one sees new sensibility and a fresh approach.”

Luxury to me is…


Rihanna sizzles in Dior magazine

“It’s knowing the difference between what luxury is and what’s not. When you wear a Dior dress, you aren’t screaming the label. Whether you’re wearing a garment or carrying a handbag – how you feel wearing it – that’s luxury. You’re doing it for yourself. It’s a feeling…  which only you know,” she signs off.

How beautifully summed up!

With a spring in your step

Presenting key Spring Summer 16 trends which emerged at Lakme Fashion Week.

Summer resort looks like a petri dish of sartorial experimentation – there’s a weird and magnetic mash up of styles and influences – from luxed up sportswear to pool side resort to destination wedding concoctions. What makes this clash of references delectable is – there’s something for everyone. Mix and match and let your freak flag fly high and create your own style. Pair a cricket vest with a pair of shorts or a metallic jacket with an evening gown. With up-from-the-street style getting stronger momentum, it’s time to go charging ahead with your own zany take on fashion.
Here are the key trends which emerged at the recently concluded LFW.

Colour blocking


Payal Khandwala colour blocks her blue monastic sari with a yellow blouse


A colour blocked look from Wendell Rdoricks

At Wendell Rodrick’s museum-worthy presentation, the ensembles gloried thanks to a kinetic colour blocking and pop accents. A colour palette of tangerine, emerald green, teal blue and fuchsia pink was employed with a distinguished flair. Amit Aggarwal’s techno feminine gown has bold strokes of orange, blue, yellow and white while Shivan and Narresh’s swimsuits had pop accents of peach and blue and creamy salmon. Payal Khandwala paired a monastic blue sari with a yellow blouse and KaSha by Karishma Shahani Khan stayed true to its folksy aesthetic playing up with different vibrant tones.


An Amit Aggarwal colour-blocked gown


A Shivan & Narresh colour-blocked swimsuit

Metallic mayhem


Monisha Jaising


A metallic Manish Malhotra jacket on Arjun Kapoor


Lisa Haydon in a Monisha Jaising gold gown with cutout details


An Anand Kabra ensemble


Magma-inspired Amit Aggarwal creation

Trust the talented Amit Aggarwal to look under the earth’s surface and get inspired by Magma. His Intricate beading, hand painting on industrial fabrics, quilting, pleating and modern textural influences wreaked an electrifying jolt. On the other hand, Monisha Jaising’s sparkly fringed gold gowns with cut-out details proved yet again that she’s the queen of red carpet high-octane aesthetic. Payal Khandwala’s motifs which were hand-woven in metallic gold and silver thread in geometric patterns stood out.


Model walks for Aimaan Agha at LFW SR 2016 (2)

An athleisure-inspired look from Aiman


An Athleisure look from Dhruv Kapoor


An Antar Agni ensemble

Huemn nailed athletic chic with its signature souvenir bombers, sweatshirts and metallic pantsuits. At Doodlage patchworked collage pieces paired with nifty accessories said vagabond. Kanika Goyal’s usage of PVC to clash with the printed jerseys evoked instant likability. Embellished slangs on pieces gave it a sassy edge.

Print charming


Mirchi print at Masaba


A vintage floral print Payal Singhal sari


A Quirk Box ensemble 

Aartivijay Gupta at LFW SR 2016 (3)

A look from Aartivijay Gupta 


A printed look from Sneha Arora

Inspired by vintage upholstery and comprising a colour palette of off-white, ecru, indigo, crimson and black, this was Quirkbox’s most refined outing till date. Sewing machines, scissor prints besides the florals made it perfect for a summer outing. Payal Singhal’s play of floral prints continues this season as she referenced some of the iconic women from different decades. Masaba Gupta, on the other hand, looked at the iconic works of Matthieu Venot (ace French photographer) and Katrin Bremermann (German artist) for her moodboard this season.

Stripes on steroids


A striped look from Shivan & Narresh



Lakme Fashion Week S/R 2016

Paromita Banerjee


Amit Aggarwal

Paromita Banerjee’s textile-savvy approach was visible in her smart usage of stripes. Stripes were also seen in other forms and treatments at Amit Aggarwal, Payal Khandwala and Shivan and Narresh.