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This is an archive article published on March 14, 2011

India on her Sleeve

If one had to find a parallel for Anamika Khanna in the literary world,Leo Tolstoy would be an obvious choice

Why Anamika Khanna’s new collection proves that when it comes to Indian fashion,hers is one of the most original and convincing voices

If one had to find a parallel for Anamika Khanna in the literary world,Leo Tolstoy would be an obvious choice. Just like the great writer married disparate elements of literary narratives — war,romance,death,melancholy — to put together masterpieces such as War and Peace and Anna Karenina,Khanna weaves a cohesive narrative by binding together different threads of Indian fashion. Her collection at the opening off-site show of the Lakme Fashion Week Summer/Resort 2011,which kicked off at Tote on the Turf in Mahalaxmi Racecourse,Mumbai,is a case in point: Delicate white kurtas splashed with chikankari,walked the same ramp as exquisite matte gold cutwork blousons and androgynous boleros; and voluminous skirts,paired with tiny,collared cholis. There was a strong Rajasthani influence,but the designer wisely stayed away from the over-bright colours. It was a collection that stood for quiet,understated luxury,perfectly positioned for summer with the predominant fabrics being mul,cotton and silk.

Khanna spoke of her collection as being one that showcased ‘Indian Androgyny’,and indeed it was. Structured jackets,cut close to the body,may have seemed like an odd choice to pair with elephant pants for a womenswear line but the Kolkata-based designer knows what’s sensuous and feminine,and it’s certainly not figure-hugging lycra dresses,with cleavage-revealing cuts. Her collection,with its inspirations drawn from menswear staples such as belted jackets and tailored coats,revealed its inherent femininity with the delicate fabrics and fluid silhouettes. In a subversion of the traditional definition of feminine sensuality,she gave them high necks and long hemlines. The only flesh that was bared was the models’ abdomens. She also released women’s fashion from the tyranny of high heels,by putting her models in flat,silk mojris.

However,what stood out for us was that Khanna managed to bring together all her different inspirations — menswear,traditional fabrics and fashion crafts,and the impending summer — to create a solid line that stands on its own. This is the same woman,who once ended a show full of elaborate bridal wear,by showcasing 10 brightly coloured,crinkled muslin saris. The drama then was in the clothes — the seeming incongruity of crushed muslin,after a parade of beautifully worked lehengas. It makes perfect sense,when one looks at the larger body of work that Khanna has presented over the years.

Caroline Young,international creative consultant,has followed Khanna’s career for many years and declares that this is perhaps her best collection so far. “Anamika is always good with her cuts and her fabrics,but this time,it was brilliant. Her clothes have that rare quality of wearing well with age and although her influences are very much Indian,her clothes can really be worn by anyone of any age and race.” Young agrees that Khanna’s strength is the fabric and its textures and colours. Her masterly manipulations of traditional crafts,in order to create her own signature is what continue to make her one of the most individual voices in Indian fashion. This voice found stronger expression in her show on Thursday night. The jewellery was minimal,the hair was pulled back into oiled chignons,and the make up was undramatic. What the audience present really gasped at was the simple elegance of clothes.

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