Palace of illusions: The other side of fashion industry’s obsession with opulence

Recently, Lovebirds, founded by Delhi-based designer couple Gursi Singh and Amrita Khanna, showcased its collection at Jaipur’s Jaigarh Fort. They were invited by everyone’s favourite Princess Gauravi Kumari, in a bid to get publicity for her new atelier inside the carved City Palace door, representing a princely past. The question no one is asking is, why a fashion label, known for its pret offerings, needs to showcase at an opulent palace? Lovebirds is in no way establishing a connection with its collection.

Location and lost connection

What would you attribute this to? Poor PR strategy? Fashion has a subtle hierarchy. If you are doing made-to-measure clothing, you generally shoot at opulent places in the dusty landscapes of Jodhpur or Jaisalmer. They offer grandness, opportunity, and the larger-than-life drama, which is what haute couture is revered for. But Lovebirds seems to have missed the memo. 

We are guessing no one is thinking like the Belgian great Martin Margiela, who got fashion out of its uppity-ness and did shows in subways. Fashion is for everyone, and as far as my 30-year training in fashion goes, Lovebirds is a ready-to-wear label. It used to do beautiful clothes for an everyday woman looking for that extra edge in her wardrobe; their roomy dresses, with play on the collar, as well as interesting, polka dot A-line wonders were engaging.

Gursi is trained as a graphic designer, and his wife Amrita draws inspiration from her mother. The Lovebirds’ Spring/Summer 2024 Collection, ‘Maybe This Is How We Meet,’ showcased against the backdrop of Jaigarh Fort, was in no way a tribute to the stunning Jaipur’s architecture, geometry, and limestone finishes, except the salmon pink offerings which were barely visible. If you call monochromes with sheer overalls, or whites with tinges of red ‘Jaipur’, it would be a disservice to the ‘elegant’ Pink City.

How to go about choosing the venue

International brands are quite intelligent, like the Italians. Gucci, for example. Gucci’s Cruise 2024 collection was staged at Gyeongbokgung Palace in Seoul on May 15, 2023. This marked its 25 years in the country. Now, here is the reason they are doing this: they started in Korea 25 years ago, with the opening of their first boutique in Seoul. Gucci’s choice of location pays homage to the beauty of South Korean cultural heritage. There is sense in what they are doing. 

Another effective example of good thinking is the quiet maverick Anita Dongre. She spent her childhood with her grandparents in Jaipur; there is a huge connection. Set against the historic City Palace in her home city, Dongre showcased her artisan-driven couture collection, Rewild’23. She is also purpose-oriented: her aim was elephant conservation. Her collection did full justice to the palace — embroidery by SEWA’s women artisans, Rajasthan’s gota-patti, and the hand-painted Pichhwai art. According to reports, she met Lekhraj-ji, a Pichhwai artist at the Palace as he was restoring its famed ceilings. It is a perfect fit.

The style aficionado, who made the sari a part of our closet again with her handloom wonders, Anavila is another designer who thinks before she leaps. Her first-ever bridal collection, “Aamod”, is defined by motifs that are inspired by Bundi miniature paintings and poetry of 17th century Rajasthan. So, she photographed at the Bundi palace, six km from Kota. The design narrates the story of flora fauna, including peacocks, birds, and deer. “It is this magical feeling one gets when one visits Bundi palace. This is what I wanted to recreate with Aamod,” shares Anavila. 

Why extravagance is not luxury

It took Anavila 13 years working with the textile weavers of West Bengal, applique artisans in Jharkhand, embroiderers of Rajasthan, and printers of Gujarat, to create a moodboard, and blueprint of this line for brides. With metallic kaftans in linen zari weave, it has flavours of vintage vantage. “Nature is my teacher of simplicity,” says Anavila. “Nature cooperates and is constantly in the flow. Extravagance in nature has a purpose, like a flower whose wild colours must attract the bees towards her nectar. However, we humans often mistake complexity and extravagance for luxury,” she explains.

Now, let us talk about Abhinav Mishra, the new boy on the block. He services the wedding category. His latest line, ‘Sangam: An Abhinav Mishra Wedding’ is washed with vibrant hues. Mirror work meets the architecture of Raffles Udaipur, with a 21-acre private island in the Udai Sagar Lake, and a 400-year-old temple. Mishra, originally from Allahabad, finished his schooling in Lucknow. Though he did not study at a top-rated college, he understands the business of fashion; thus, the synergy between the new imposing hotel and his ‘Sangam’. 

Another leading designer who chose the correct venue is Manish Malhotra. He showcased ‘Dharohar Kashi Ki’ in Banaras: ‘A Tapestry of Indian Culture and Craftsmen’, organised by Indian Minorities Foundation (IMF). Aimed primarily at preserving Banarasi handlooms, the show was at the Namo Ghat, along the Holy Ganga, Varanasi. It aimed at supporting the Bunkar community, and the skilled artisans of Varanasi, using the power of silk. He paid homage to Banarasi handlooms. Almost 40 bunkars (weavers), including two Padma Shri awardees, who tirelessly worked on the preservation of rich Varanasi craft, were honoured. “The timeless elegance of Banarasi weaves continues to inspire me,” concludes Manish.