India Couture Weel 2017: Tarun Tahiliani’s Cosmic Glamour Is Pure Perfection
When it comes to sartorial brilliance, there are few designers who need no introduction or validation, whatsoever and Tarun Tahiliani is one of them. The designer has long since found his association with Indian wear and bridal couture. And though the designer works with different elements every season bringing in a new freshness all the time, his collection essentially spells Tarun Tahiliani. This year, however, it wasn’t just a fresh approach the designer took with his latest wedding collection, Tarakanna, he also seemed adamant on making a strong statement with a subtlety so pronounced that it was hard to miss. The couturier presented the 85-piece collection at the FDCI India Couture Week 2017 on Wednesday, July 26, which happened to be the third day of the fashion fest.
In an earlier interview with a popular publication, Tahiliani had said that “Tarakanna is a portrait of understated cosmic glamour,” while also adding that his inspiration behind the collection was “all things universe- constellations and stars being the core theme for the collection.” And the designer more than lived up to his theme and inspiration with outfits that were as beautiful and attention-grabbing as the stars and as weightless as the night. Incidentally, ‘weightless’ was the key here because the designer consciously made an effort to make the garment look heavy but feel light so that they are pretty yet practical, a need that arises from the intense involvement of the new-age bride in the whole wedding ceremony. The fabrics, the embroideries, the embellishments and the silhouettes were all done in accordance to the theme and the desired outcome. Accordingly, textiles such as velvet, silk, brocades and soft tulle and georgettes were used to craft flowy contours, an expertise of the designer.
The classic silhouettes of lehenga, gown, saree, kurti were adorned with Kashmiri embroidery, Parsi Gara work, zardozi, chikankari and gotta to give the garments a vintage charm. These were then superimposed with elements like tassels, 3d flowers and an abundance of crystals (courtesy of Swarovski) to make them more relatable to the current zeitgeist. But the Swarovskis did more than just add glamour and opulence to the outfits, they were also a direct representation of the sparkle and shimmer of the night.
The colour palette too was in keeping with the theme including ample black and sufficient ivories and several pastels ( peach, fawn, blush pink, jade and aqua blue), though the conventional pinks, reds and oranges also found a place on the palette. Tarun’s colour story was not limited to the design aesthetic of the garments, it went on to boast of a strong statement about the diversity of the Indian culture, in general, and the Indian wedding culture, in particular. With the inclusion of blacks and whites in his bridal couture, Tarun made it clear he came from a secular and progressive school of thought.
Impressively enough, Tarun’s collection wasn’t all about the bride, the grooms enjoyed just as much drama and opulence as their better halves. With their constructed silhouettes, Tahiliani’s men stood their own ground with being overpowered by the grandeur of the bridal garments. Crafted out of fine matka silk, raw silk, velvet and dupion silk, the men’s wear range boasted of bundis, panelled kurtas, dhotis, sherwanis and versions of caps. Noteworthy was the long sherwani with a long, yet relatively shorter, jacket.
If we were given our way, we’d probably end up picking out just about every garment from this collection, both men’s and women’s. But pick one we must and so we picked these two out which prove what we just mentioned about the men making a noticeable statement juxtapose the elaborate bridal couture.
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