The czarina of Indian couture Rina Dhaka has won rave reviews and inevitable criticism in fashion extravaganzas across the globe. But in the ongoing “India Couture Week”, the designer with a rebellious streak virtually conquered the hearts of fashion connoisseurs with her interpretation of what constitutes luxurious high-end apparel.
Bollywood’s quintessential item number specialist Malaika Arora Khan, fastidious while selecting and endorsing a designer, looked elated while walking on the ramp as a showstopper in a shimmering outfit as the paparazzi captured her from every conceivable angle.
With flashbulbs clicking at a competitive speed and the audience clapping in right earnestness, Malaika and more importantly Rina knew that the ramp show had been a roaring success at the fashion week.
It was a media preview at the six-day event and after the curtains came down on the show, fashion pundits straightaway started waxing eloquent about Rina’s fashion sensibilities and her mastery over the art of amalgamating contemporary Western cuts with traditional garments.
Undoubtedly, the collection derived inspiration from the rich arts and crafts of Western India. The garments were enriched with the gota work of Rajasthan. The designer had given them a contemporary twist.
Rina recreated in her own language new sizes and styles in the gota patti, placed it against tinsel sheers and lace. Was the collection inspired by the desert State? “It was inspired by Rajasthan as far as the technique was concerned. But I have not derived inspiration from the rich heritage of the State. During my visits to Rajasthan, I have been bowled over by the rich architectural heritage and have derived inspiration from the craftsmanship of the bygone era. I used them in previous collections but not this time round,” says Rina.
The collection was meant for the contemporary Indian women who strike the right balance between their office-related assignments and duties at home. To create a romantic look, the designer used her creativity to beautifully blend together zardozi, zari, lace and metallic gota with tonal beading and soft embroidery. She used jewellery in meenakari and polki to highlight traditional designs.
“When I say the contemporary Indian women I do not mean that I was aspiring to reach out only to working women living in metropolitan cities but also housewives. For a designer all are equal – those at workplaces and homemakers. I focussed on detail, lightness, workmanship.”
The designer did not tread uncharted territory this time around. She agrees that she is known for making bold statements in designing dresses which appeal to not just the fashionistas but also those far removed from haute couture.
“This collection was not a repeat of my previous work. It was a modern elegant collection. But let me clarify that this collection was not for the buyers. It was a media preview and I wanted to release my new look. I was not aiming at buyers.”
