Picture Maharaja jewellery, decadent mahals and preening peacocks and you’ve pretty much summed up the current mood of Indian couture. Be it the dance of sequins and crystals mimicking the imagery of the palaces, or the thread embroidery reigniting Mughal regalia - it’s all about toasting decadence though in a current format.
Be it Falguni and Shane Peacock’s ode to the grandeur of Amer or Tarun Tahiliani’s interplay of resham-crystal-baadla and Swarovski or Sabyasachi’s Charbagh Chowk collection - the season-neutral and timeless Indian Baroque has never looked more relevant or desirable.
“Anything associated with the richness of work, can be termed Indian Baroque. There is Baroque-ness in the choice of colours and in the style of gilding but I believe, we are all global citizens and therefore, I like to keep the expressions representative of that true synthesis that we have become rather than, as Bollywood puts it, overtly western or overtly Indian,” says designer Tarun Tahiliani.
A section of Indian designers have singularly owned the culture-centric and heritage-focused aesthetic. “Extrapolating the localised imagery inspired by some of our maharanis, creating a royal experience for the consumer and offering bespoke bridal services have been the winning mantra for these labels. Also, designers have realised that consistency is key and it’s also about reviving the lost craft of our country,” says stylist Akshay Tyagi.
Jade by Monica and Karishma is another brand, which has single-handedly revived the craft of the painstakingly done ek taar embroidery. Designer Monica Shah of the label says, “Indian craftsmanship can’t grow old as it’s part of our history and pride. It’s really about how you use it and how you make it younger and relevant. Our lehengas are heirloom pieces which could be easily passed down from one generation to another.”
