A Cut Above

Payal Pratap,who presented adaptations of the silhouette in both her debut spring-summer collection and her autumn-winter line this year,says it has found wide acceptance in the mainstream for various reasons. “We are adapting this visually strong and appealing garment to create shapes that are Indian in origin and yet international in appeal. Just like the bandhgala,this silhouette has an international acceptability and can be part of anybody’s wardrobe,” says the designer. Arora believes that the magic of the garment lies in its form and construction. “The sleeves are cut on bias,so they are really snug. And the yoke has a peculiar construction that makes it fitted till the empire line. Below that is metres and metres of fabric pleated meticulously to give the garment a beautiful form. It strikes a wonderful balance between being a fitted,yet comfortable,piece of clothing,” she says.

From breezy voluminous tops,to tailored jackets and gathered sari blouses,the kedia top takes off from the westernised peplum trend but has a more full-bodied and forgiving silhouette. “We have taken the angarkha from a vintage setting,tweaked it here and there,given it a peplum spin and thereby a contemporary appeal,” says Anju Modi,who has been playing around with the kedia silhouette since she introduced it in her spring–summer 2011 collection. “A silhouette stops being a fad when it lasts for more than two seasons. And this is definitely because Indian women have taken to the kedia cut in a big way. Most of us have pear-shaped bodies and this creates the illusion of slimness,” says Modi,professing her own preference for this fundamentally male item of clothing.

This,for Rahul Mishra,is the most extraordinary part of the garment — that a menswear item is inspiring experimentation in womenswear. “The functionality and metrosexuality of the garment is such that it transforms seamlessly. The grace of the garment makes men look like men,without compromising on their masculinity and it makes women look utterly feminine,” he says,going so far as to call it a unisex garment second only to the T-shirt. “Just like a T-shirt,it can be worn by both men and women and can be easily paired with denims,palazzos,skirts and saris and can also be used as a jacket in winter,” he says. 

This adroit compatibility with other separates has seen Tarun Tahiliani team his roomy kedia tops with dhoti-style draped skirts,Tanvi Kedia pair her gypsy-esque version with patterned tights and Shantanu & Nikhil and Manish Arora transform it into an evening-out ensemble,teamed with a pencil skirt. Lengths vary from waist-high and mid-hip to thigh-high and even floor-length. The kedia top is availabe in fabrics as diverse as cotton voiles,khadi and gauze muslin,Bhagalpuri silks and Merino wool — depending on the season.

“It can be used with multiple fabric combinations and embroideries,” says Nida Mahmood,who has in the past adapted kedia tops as baby doll dresses in rich fabrics with hand-embroidery,bohemian blouses,constructed jacket blouses and also “in its purest form” in simple cotton voile. “A lot of organic fabrics and techniques have been used on this silhouette and hence,it seems to be symbolic of the organic world we yearn to live in. In many ways,it has come to signify the ‘go green’ movement in the world of fashion,” she says.

Like Mahmood,most designers enamoured by the silhouette say its influence is here to stay. “You can embroider it,print on it,use tie-and-dye – it’s a blank canvas. And as a source of inspiration,it’s a powerhouse,” says Mishra.