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Ramp blazer

A tête-à-tête with model-turned-choreographer on Indian fashion, modelling and more

Catwalking to choreography: Lubna Adams - Pic. by P .V. Sivakumar

FROM SCORCHING the New York city with her models at the haute Earth NYC gig to working on the LIFW back home, not forgetting the continuous training schedules with beauty pageant contestants, Lubna is inarguably one of most sought after names in the realm of Indian fashion. When she says, "no matter what you do in life you should know it inside out ," what comes to mind is the popular visage that lent grace to Vimal and Raymond's campaigns in the 1980s.

"Those were some of my favourite works. I loved campaigns since you get the opportunity to interact with the camera. Raymond's also was my favourite ramp work," recalls Lubna. Today the model-turned-choreographer prefers to work with designers as Raghavendra Rathore, Sandeep Khosla, Abu Jani, Wendell Rodricks and Rajesh Pratap.

Fashion business

Talking about the business of fashion, Lubna, who has been into choreography for 13 years now, says, "The industry has grown a lot more since I began choreographing. Earlier we had similar looks on the ramp, but today each piece is different. What's more, the lines are now provided with accessories. There was also a lot of dance in fashion shows, which were more about entertainment than fashion. We changed the focus. Today the sets and equipment are extravagant. There are large budgets for the shows. There is a lot more seriousness in the garment business."

Comparing the Indian fashion industry to global haute couture , Lubna points out on the need for discipline, a key factor in international fashion. "Indian fashion has the reputation of `the industry that never delivers on time.' Orders are cancelled as seasons change. Also, what is required is corporate funding to help designers to reach there". As for the role of fashion schools in grooming designers, "they definitely help. Everybody is not born with talent. Training is essential." And finally, on the topic close to her heart — modelling then and now. "There were barely 15 models then. Today you have 20 times the number. But the commitment was much more during my time. You should keep getting better with every job. You need to keep growing or else you will stagnate."


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