Home Fashion & Accessories 14 Reasons Why Traditional is Trendy this Festive Season

14 Reasons Why Traditional is Trendy this Festive Season

3 mins read

By Meher Castelino

We followed the trend notes of 14 of the hottest designers who showed their creativity on the runways ofLakmé Fashion Week Winter/Festive 2015. They have announced the revival of the traditional attire and weaves. Saris are hot, and so are lehenga cholis, albeit with a contemporary tweak. The Anarkalis, angarkhas, kurtas with churidars and salwars were always around, but now they are de rigueur. Here is a pick of the best festive wear designers and their creativity, brought here for the readers of The Luxury Chronicle.


She brings into focus her hand woven Saris, the tanchois, jangla and Jamawar weaves. With a dash ofShibori gotta and zari work it was a look that went back into the past. Lehengas with pleating, skirts and the draped saris revealed an interesting old world charm.


More saris in lovely Indian weaves including khadi, silk zari and Jamdani, which proved that the 6-yard wonder is still very much on the fashion charts, return of the simple ‘A’ line kurta with churidars a few anarkalis and lehengas in the normal umbrella cut. The colours were vibrant red, violet, orange, pink and gold all a ‘must-have’ for the festive season.


The duo from Kolkata only design saris with all the traditional weaves, which have been around for centuries in Banaras. Their saris had the Shikargaha, Khimkhwab, Khandwa, Chaar Taar and Dampach patterns some also inspired from the Mughal fabrics. The collection included The Advitya, Kaaynaat, Mehraab, Vaidehi, Hukum, Leher, Shikargaha and Ganga Jamuna, which featured the Kadhuwa and jangla designs.


She emphasises the intricate work of the weavers in the Bajardiya cluster for the “Tassels” collection for her label ‘Loom 1905’ where tufts of threads and cords came alive on the fabrics. The fine silks were expertly woven into two segments – the Grand and the Subtle – along with a hint of macramé. Traditional saris were teamed with kurtas and lehengas were worn with long sleeved cholis.


Only lehengas and saris for his collection ‘The Scent of the Orient’, which featured the Parsi Gara embroideryin varying colours and forms with a hint of the Chinese Porcelain flora and fauna designs in blue and white. Cholis were sober with a subtle designer touch, while the lehengas were teamed with the traditional blouse and dupatta.


Shah’s “Samyukta” collection was about saris for bridal wear, which took eight months to create. From all corners of India, Gaurang brought to centre stage the various saris’ weaves, Kanjeevaram, Khadi, Uppada, Paithani, Benarasi, Patan Patola, Kota Dhakai and added traditional embroidery like zardozi, gotta, doria, Marodi, aari and chikankari. Besides the saris there were anarkalis, lehengas and ghagras teamed with kurtis or cholis as well as ijjars, farshis, long/short kurtas and floor length anarkalis. The Patolas richly coloured, were worn with the Banarsi saris. Men’s wear was also traditional with choghas, sadris, achkan, dhotis and anghrakhis.


Padma Shri Ritu Kumar’s, “Varanasi Weaves” honoured Banarsi Weavers and is supported by the Ministry of Textiles, Government of India to revive the handloom weaving in Varanasi. Ritu used old nakshas; and recreated superb collections of vintage designs. Reviving motifs like Badami, Kyari, Shikargah and floral butis, The luxurious lehengas, layered garments and the exquisite saris, displayed the magnificence of Banaras weaves, as well as the white Jamdani of Banaras, silks from Varanasi with gold and moga thread and the grand bridal line of lehengas, blouses, kurtas and panelled skirts.


Swati’s collection “Mauj”, made the best of waste inspired by the distinctive the Mauj Dhurrie type of flat weaving used for Kilim and Dhurrie seen in Rajasthan Gujarat and Uttar Pradesh. The collection consisted of leftover or waste threads and had all the motifs, colours, textures and details aptly derived from the kilims. The designs were influenced by the clothes worn by handicraftsmen, especially the dhoti and turbans with appliqué, patchwork and Shibori on fabrics like pure hand woven silks, silk organza, Chanderi, khadi and Kota doriya.


These Jaipur based designers for their brand ‘Vrisa’ rejuvenated one of the oldest forms of textile designing for their collection “A-Jharat“. The collection was influenced by Ajrak designs and the printing technique used to make unique textiles called Bagru-Dabu. This printing involves natural dyes extracted from plants, flowers, trees and fruits therefore making it eco-friendly and pure. The silhouettes were traditional with long anarkalis and kurtas with pleat variations along with colourful tassels and silver detailing.


Reddy’s “The Oasis at Sunset” may have had a fancy name but her collection was pure traditional with only lehengas, cholis and dupattas in prints and solids that will give the bride a wide selection. Reviving the beauty of Hyderabadi craft from her city, Anushree added zardozi on luxurious fabrics like chiffon, georgette and net along with subtle prints, which were merged skilfully with the fluid garments, the line-up of printed cholis or lehengas which were in elegant silhouettes.


Arpita Mehta’s “The Golden Hour” was all about mirror work for nearly every garment that will thrill the bride.Raw silk, tabi silk and chiffon in dramatic hues of gold, Sindoor, emerald and finally stunning black. The embellishments were elaborate and lavish as intricate mirrorwork and cut Dana embroidery along with salli fringes, dull gold work and innovative suede appliqués, added to the highlights of the ensembles.


Neeta Lulla’s Lakmé Salon Bridal Show dressed the bride for all the wedding festivities. Saris were worn in the traditional manner and lehengas with cholis and dupattas were inspired by Indian temples and traditional arts. Using the rich fabrics from round the country, Neeta presented a line of Indian wear that will please the traditional dressers.


The ‘Allure’ collection was for the Indian bride and her entourage. Lehengas with detailed embroidery paired with deep neck blouses, traditional silhouettes of the lehengas, cholis and dupattas revealed that the simple line of party and bridal wear is what will be hot on the fashion charts for the coming season.


Inspired by the ancient primeval gold jewellery of a lost era, Payal Singhal’s “Maaya” collection, explored the motifs seen on the first pieces of gold jewellery excavated from ancient Egypt, Rome and India that were beautifully transformed into zardosi, Mukaish and appliqués. The fabrics chosen for this stunning collection matched the intricate embellishments as rich silks; tulle and mul in earthy colours of natural stone, pretty pale rose, stately grey, elegant cream and finally dramatic black, made up the Afghani salwars with ornate kurtas, Jackets and lehengas, Banaras palazzos, Mukaish tulle dupatta, saris in dual tones.


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