Lakmé Fashion Week 2024: Of familiar stomping grounds and then some

The three designers presented variations of their signature styles, from Pankaj & Nidhi textured pieces to Ashdeen Lilaowala’s scaled-back Parsi Gara, and Monisha Jaising’s resort-ready ensembles

Pankaj & Nidhi

Inspired by the infinity symbol, Pankaj & Nidhi show, Loop, typified the hallmarks of a modern fashion house: expertly crafted pieces that would look stunning in magazines, set against a jewel-toned palette of dune, olive, black and burgundy (their “new red”), while remaining practical for women affluent enough to afford them.

Known for their ability to merge surface textures with edge, the duo pushed their craft further this season with intricate quilting and embellishments, creating layers that felt as soft as they looked. The infinity symbol, a recurring motif, appeared in subtle tone-on-tone details, while bold black accents offered sharp contrast. This was complemented by pixelated embroidery, and the movement of bouclé-style pleated skirts, cropped tops, and kimono bomber jackets, which relaxed the more structured pieces, like tuxedo-inspired latticed gilets.

Ashdeen Lilaowala

Actor Alaya F closed the show for Ashdeen Lilaowala

Much like designers on a perpetual diet, bridal couture is shrinking before our eyes. Ashdeen Lilaowala, who has razzle-dazzled us for a decade now with handmade delicacy of Oriental and Persian embroidery techniques on sarees, jackets and lehengas, opted for a more scaled-down approach with Fragments of Time, his spring/summer 2025 showcase. “With this latest collection, we are pushing the Parsi Gara craft into bold new directions, drawing inspiration from the work of Dutch artist Patrick Bergsma,” notes the designer.

The garments were incredibly light in both construction (more so than they appear in photos), attitude, and concept. The proportions conveyed a sense of movement, with long, fluid waists and shapes reminiscent of the 1960s; shift dresses, maxis, skirts and palazzo trousers. The embroidery and textures were designed to suggest patterns of Japanese art forms of Bonsai, Ikebana and Kintsugi.

While the collection presented a different side of Ashdeen, it lacked the majestic scale and awe typically invoked by his heirloom pieces. Instead, it felt like a subdued exploration, focusing on intense colours and small gestures in tailoring and draping.

Monisha Jaising

Models dressed in Monisha Jaising’s signature sheer, embroidered kurtis; (right) Riddhima Kapoor Sahni, from Fabulous Lives of Bollywood, walked the runway for Monisha Jaising

Anyone who has followed Monisha Jaising’s career would have spotted echoes of her earlier resort collections, particularly the summer/resort 2017 show that unfolded against the Arabian Sea aboard an Italian luxury cruise liner that had docked in Mumbai. Sailing Bride 2.0 felt like a continuation of that journey—one that set sail in 2017 and shows no signs of disembarking.

The collection was a distillation of many archival ideas, reimagined with new faces from Fabulous Lives of Bollywood, Riddhima Kapoor Sahni and Shalini Passi, who bookended the show. Sure, a pair of beaded bralettes and wide-leg trousers or fishtail skirts and bodices gave the impression of models hastily emerging from a beachfront soirée, but it wasn’t exactly a new concept.

 Season after season, kurtis worn over bikinis or trousers, Banarasi brocade gowns, kaftans and evening dresses have anchored Jaising’s collections. While these signature pieces highlight the brand’s codes, they were lightly exercised and certainly lacked the captivating energy for which Jaising is known. That said, the brand’s loyalists won’t be disappointed, as this collection delivered a glorious glitter bomb of holiday wardrobe ideas.

Also Read: Lakmé Fashion Week 2024: Two designers, two fashion POVs

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