For far too long, Indian couture has been synonymous with the ostentatious lehnga-choli. At the recently concluded India Couture Week in Delhi, too, there seemed to be a competition among designers to create garments that could light up any room, figuratively and, at times, literally.
Yet scattered among the 13 collections were pieces that borrowed the dress codes of ready-to-wear—a monochrome parade of balloon pants and bodysuits, oversized blazers for all genders, Victorian era-inspired skirts, and long shirt-style kurtas.
It mirrors a broader movement in global couture. Houses such as Fendi and Chanel are increasingly infusing their collections with the ease and functionality of ready-to-wear.
Gender-neutral fashion
This change in mood was evident from the opening day of India Couture Week on 23 July. Anamika Khanna blurred the boundaries between womenswear and menswear with Moonlit Palace, inspired by the embroideries of Barmer and Kalighat paintings. Among the standout looks was a beige kurta-style jacket with an Edwardian collar, paired with sheer churidars—the restrained embellishment highlighted the sharp tailoring.
Another paired a mirrorwork cropped jacket with a Victorian-style ghaghara, both of which could be worn as separates with wardrobe staples such as khaki trousers or a denim shirt. The collection’s idea that couture need not be confined to ceremonial dressing was reinforced by a male model in an all-black ensemble that resembled an origami sculpture: a voluminous draped outer layer gathered at the torso, layered over a textured high-neck top, slim trousers and boots.
A similar thread ran through Falguni Shane Peacock’s Le Grand Voyage. Amid the spectacle of chandelier-like lehngas were two pairs of wide-legged jeans embellished with faux fur, a reminder that couture can reinvent even the most familiar item for a modern wardrobe. The brand also loosened the codes of occasionwear, sending out pyjama-style trousers paired with embellished ties and cropped jackets.
While rooted in menswear, the silhouettes felt light and fluid enough to appeal to all genders.
Ditto for Kunal Rawal’s Rawalgarh, where military-inspired jackets and equestrian references made room for more lived-in clothes.
Lightness is a quality many Indian couturiers struggle to embrace, often equating luxury with weight and embellishment. But Masaba Gupta toyed with the idea in her debut bridal collection, Chardi Kala.
Rather than presenting a singular vision of the Indian bride, she offered clothes for every mood: an embroidered pineapple-shaped bikini, gingham overlays, jackets with embroidery spilling out like a parandi, white Pathani suit with sequin work, and embroidered cargo pants.
Tarun Tahiliani’s runway presentation embraced a sense of lightness. One of the outstanding creations was a plain gown inspired by ancient sculptures, featuring an anatomical bodice that revealed the navel and contours of the torso. It moved with the body rather than constraining it.
Innovation was also on display at Rimzim Dadu’s Inlae, where she reimagined mother-of-pearl as a textile. Equally significant was her move towards adaptable silhouettes that could accommodate a range of body types—a departure from the more body-conscious tailoring that has defined much of her work.
Embroidered vests inspired by Mughal inlay were paired with sheer embellished leggings and bomber jackets, while her structured saris sat comfortably alongside separates more commonly associated with ready-to-wear.
Rahul Mishra’s finale, Devi, perhaps summed up this changing mood most powerfully through a performance. As actor-showstopper Sobhita Dhulipala walked the runway in a beige hand-embroidered bodysuit, and later added a traditional ghaghra on stage, the message was clear: couture doesn’t have to restrict itself to wedding clothes.
The most compelling garments this season proved that the future of Indian couture lies in creating clothes that invite experimentation as readily as they celebrate craftsmanship.