I do, I do, I do…

Day One

PFDC L’Oreal Paris Bridal Week showcases the finest in bridal couture, with some of the country’s leading fashion designers rubbing elegant shoulders with bold newcomers here at Faletti’s – appropriately enough the hotel to have hosted actor and style icon Ava Gardner, when she was filming Bhowani Junction in the 1950s. PFDC has selected a line-up of 22 designers who combine creative finesse with a judicious measure of pomp and circumstance. The next three days will define the season’s bridal look.

The first day ends on a high note, with some big names from the industry on display. But it is Ali Xeeshan who steals every other designer’s thunder this evening. His sense of drama, his skill and technique extend far beyond the call of duty. The collection is titled “Tufaan” and the dynamic display of design, craft and originality creates a stir among the audience from the moment the first model walks down the ramp, clad in a yellow lehnga choli heavily worked with gota, pearls and layered thread-work. This is the drum roll for what is to follow.

Inspired by the movement of desert storms and shifting sands, the collection is a visual feast: olive juxtaposed with teal and flame-orange, peacock-green pitted against jet-black, mustard with classic green. All the dresses are worked with metallic gold elements – Rajasthani gota patti, beadwork, aari and zari, supported by resham thread-work, marori and other embellishment techniques. Sporting a range of silhouettes – from flared to straight pants, floor-length dresses to fitted skirts and voluminous lehngas – the collection is wonderfully diverse in terms of cut and structure. Off the ramp, these dramatic pieces offer practicality through deconstruction. The pants, knee-length shirts, heavily worked chadars and organza capes with applique gota could work in tandem with multiple outfits. And clearly, they are designed for the plucky.

Ali Xeeshan steals every other designer's thunder on the first evening

Presenting her fall/winter bridal and trousseau collection titled “Afsaneh” (Persian for “Chronicles”), Sania Maskatiya attempts to recreate the magnificence of a bygone age (think “the Golden Sparrow”). She uses rich jewel-tone velvets in deep maroon and sapphire, lined with fine brocade, before moving on to whimsical net in midnight blue and cream. True to her signature style of mixing intricate motifs in multi-coloured resham thread-work, each piece is worked through with dazzling zardozi, aari and sequins in both gold and silver.

For the upcoming bridal season, she pairs trending lehngas with cholis, conventional knee-length shirts with straight pants, daring tops with ghararas and short capes that work as separate outfits with all the design structures mentioned above. Unforgettable among her collection is a pair of wide pants tailored with layered net that sparkles in gold and silver zari and aari embellishment. If only Maskatiya had stuck to not more than two defining moods in terms of colour and design ethos, the collection would have struck a deeper chord. But there were too many “moods” for the eye to absorb as one cohesive collection.

Moving on: notable among the new entrants in the Bank Al-Falah Rising Talent Show segment, featuring capsule collections of four outfits each, is Maheen Ghani Taseer. Regarded as a fashionista in social circles, it is interesting to see how she translates her sharp sense of personal style into bridal couture for the ramp. Titled “Vaillant” (French for “valiant”), the collection aspires to lend confidence and courage to the woman of today as she juggles between her different roles as a wife, a mother and a qualified professional.

The four dresses featured were equally diverse in colour, medium and technique. From pearl-pink to Spanish red and bright red to deep maroon, each outfit demands attention. A short shirt in net with sheer sleeves worn over a fitted top and gharara gives way to a lehnga choli coupled with a brocade-lined plush velvet chadar. The high-collared, open-front jacket is worked heavily in gold and lined with brocade gathers – a fresh take on modern bridals. Crystals, pearls, dabka, marori, gota and zari all merge together to create harmony in style and glamour.

Not to be ignored is the fact that, from the glittering tassels to the fine edging and brocade lining, the detail and finishing is exquisite in all four dresses presented, especially given that this is only Taseer’s first showing as a designer. It is clear how every little feature has been thought through. This level of depth and mature finesse is usually something one expects of more seasoned designers – making Taseer’s collection all the more memorable.

“The Jasmine Court” by Khadijah Shah of the design house Élan is the finale of the evening: a sound display of technique and design. It pays tribute to the ruling families of the Subcontinent’s princely states of the late 18th century (who were greatly influenced by the British Raj and, hence, gave rise to new design sensibilities). It was an exciting, romantic time for both cultures, each fascinated with the other. The fashion that followed reflected as much.

The collection is ethereal, the colour palette classic Élan: mostly pastels in peach, teal, pale blue, lime, nude, jade and gold interwoven with deeper accents of green, maroon, black and even hot pink. The motifs used are also mostly classic Élan: pretty florals (with some wildlife patterns), some in resham and others in dazzling gold and silver. What is not classic Élan and stands out, however, is the revival of the shalwar. In a welcome break from brand tradition, Shah pairs different shalwar styles with shirts in different cuts: the high-belted, heavily gilded peplum top carries a dhoti shalwar, while another classic green kurta in layered organza is paired with a straight-cut shalwar with no pleats.

Mahgul's collection is inspired by baroque paintings and aerial views of architecture

Also impressive is the intricate cut-work and three-dimensional embroidery in moqaish, zari, resham, gota, aari, pearls, beadwork and crystals, signifying the attention to detail that has gone into creating all the various silhouettes for this season, which include not only the customary lehnga but also Anarkali angrakhas, voluminous peshwas and farshi ghararas. Although when viewed individually, her clothes reflect skilled craftsmanship and regal elegance, there is, again, too much that is too similar to her previous design aesthetics to term this season’s couture compilation cohesive, innovative or ingenuous.

Day Two

Day Two belongs to The House of Kamiar Rokni. Fashion triumvirate Kamiar Rokni, Rehan Bashir and Tia Noon present their collection titled “Alchemy”, which reigns supreme over every other collection presented during the course of the three-day event. Drawing inspiration from an eclectic range of local, regional and global embellishments and silhouettes to form a wide-ranging bridal signature look, the collection comprises cuts that vary in length, volume and diversity, and fabrics that include hand-woven silk, organza, jamavar, chiffon and net. On display are fitted short shirts with deep quadrangular-back necks, full-length peshwas and long, glamorous jackets, ball-gown skirts and farshi ghararas as well as cropped, skinny and flared pants.

Collectively using zardozi, resham, gota patti, dabka, pearls and beadwork, the imagery in the collection’s motifs reflect a skill and expertise of which only a maestro is capable. As each dress is paraded down the ramp, it is like watching poetry in motion. Every outfit reflects an almost spiritual awakening. The vibrant and unorthodox colour blends are a welcome change from the usual reds, golds and pastels. There is a unique rhythm and uniform thought that transcends all design senses and holds the audience in thrall. A well-deserved standing ovation follows.

Introducing her collection “Wanderlust”, Misha Lakhani’s pieces vacillate between hit and miss. Inspired by royal heritage, the collection features an old-world charm through an assorted mix of fabric and textures. Billowy georgettes, tulle, velvet and chiffons, as well as weightier fabrics such as brocade, muslin, kathan silk and mehsuri are cut into various styles of fitted straight pants, Anarkali angarkhas, loose-fit short shirts, and conventional lehngas. Set in unusual shades of sea-green, gold, pale blue, sage, chartreuse, violet, pink lemonade and rani pink, with hints of deep emerald, turquoise, plum and grey, this romantic collection is more the trousseau variety. Only one silhouette leaves a lasting impression: a full-length sheer net shirt worn over straight-cut jamavar pants, the look completed with an embellished sheer net dupatta, giving tradition a modern twist.

Presenting a capsule collection among “New Bridal Designers”, Mahgul’s collection is titled “Vivante” (French for “Living”) and is nothing short of brilliant. A true reflection of her artistic sensibilities, each piece demonstrates originality and ingenuity. Opting for deep vintage hues such as taupe, bronze, black and oyster-grey (instead of the usual reds, silvers and pastels), it is a rather unexpected choice of colour palette as far as local bridal couture goes. But Mahgul sets her own markers. Her inspiration this season is baroque still-life paintings and aerial views of architecture – two contrasting visions brought masterfully together in one collection.

"Shamaeel's clothes are … heirloom pieces" (Babra Sharif)

Her structured cuts are complemented by elements of deconstructivism to give the overall silhouette volume and angles. Unforgettable among these are a pair of badla-embellished leg warmers worn over skinny pants, silk-lined side panels adding dimension to a pair of skinny pants, copper-coloured embellished strips worn over shalwar ankles (holding in the gathers), and finally a dupatta embroidered with a study of a still-life floral vase, draped over the arms with stitched wide cuffs. The dupatta is worn over a stunning maroon cut-work shirt embellished with copper, showcasing an architectural motif, and knee-high cutwork pants. If these reflections of her creative genius are a sign of what is to come from a young designer only into her second year in the industry, then Mahgul will be a force to reckon with.

Day Three

“Absolutely Oriental” by Shamaeel Ansari wins the audience over on the evening of Day Three. The opening sequence in high-collared, beige net, knotted capes with pearl-white appliqué accents gives way to Shamaeel’s signature repertoire of reds and maroons. Inspired by the romanticism of bygone eras, these majestic outfits weave their way across time and space effortlessly. The collection pays homage to the superlative craftsmanship of the 16th century Mughal era to the delicate beauty of Russian porcelain, Garner; the formidable design force of French Aubusson carpets and the unique motifs and complexity of Kashmiri artistry.

Velvets and brocades are juxtaposed with digital silk prints. Zari, ari, appliqué, vasli, beaten work, sequins and kacha resham are set against a colour palette of taupe, brown, red and maroon. On display are some unique silhouettes: the pleated lehnga, dhoti shalwar, bolero jackets, fitted short jackets, peplum tops and peshwas. As senior fashion critic, Mohsin Sayeed says, “Shamaeel’s showcasings are like a symphony in motion. They gradually build up to a crescendo. Always.” Film icon Babra Sharif agrees, saying, “Shamaeel’s clothes are always so regal. They are heirloom pieces that can never be replicated.”

Titled “Seeking Paradise”, Saira Shakira’s collection is the last among those to impress. Heavily embellished, solidly structured and modern in outlook, it is inspired by Russian Pavlovsky posad shawls – the repertoire is a vision of ethereal elegance and feminine charm. Designed around shiny fabrics like tissue and net, the dresses feature beautiful florals over majestic flairs, flowing gowns, short shirts, shararas and lehngas with layered resham, dabka and naqshi handwork.

Delicate hues mix in avant-garde fashion in surprising combinations: pearl-white offsets rose-pink, turquoise, gold and silver on wide-legged pants, and against turquoise, orange, gold and silver in a cropped top. A peplum shirt is paired with deep bronze skinny pants and a jacket heavily worked in silver and turquoise over cream. This bold collection demonstrates the designer-duo’s proficiency in style and their willingness to experiment.

Overdosed on bridal embellishments? Never mind. Day Two offers a welcome change with two musical performances at intervals: Ali Sethi with his rendition of the classics ‘Dil Jalaane Ki Baat’ and ‘Mohabbat Karne Wale’, and Sara Haider with a cover of ‘Ae Dil Kisi Ki Yaad May’.

And it isn’t just about the clothes. Also remarkable are the folks responsible for looks, style, hair and makeup. Team Nabila and N-Gents make sure the changes are swift and efficiently managed. Lotus Client Management and PR seamlessly manage a show on this scale without batting an eye. And PFDC had done it once again: spearheading a spectacular show of design and creativity, fashion and glamor.

Until next season, au revoir.