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124 VOGUE INDIA JUNE http://www.vogue.in
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IRISVANHERPEN
AMITAGGARWAL
With Amit Aggarwal, it’s in the small details that the big story
resides. In a graphite gown, bugle beads create a ripple effect.
Metallic stripes and subtle shine simulate the now-you-see-
me-now-you-don’t form of a jelly fi sh on a champagne ruffl ed
tunic. The fl owing, brilliant fi ns of the Siamese fi ghting fi sh
prove the reference point for an electric-blue gown... “It takes
me back to the time when I was really interested in the science
of things,” says Aggarwal. “How natural organisms are con-
structed plays a very important role in our inspiration. This
we put across through textures, motifs and even the construc-
tion of a garment.” The sari has turned into a base silhouette
for grander designs, where the brand’s signature recycled
polymer sheets can form the pallu and metallic embellishment
creates the illusion of pleats on the classic drape. “What I have
really enjoyed in the last two to three collections is how the
sari can be morphed with so many different aspects of cloth-
ing... For me fashion is a form of exploration, a language that
I can keep evolving.”—Shalini Shah“In my designs I approach fashion as a tool to open an unspo-
ken dialogue between our insides and our outsides. On a personal
and emotional level, I search for maximum impact. The most chal-
lenging look I’ve created thus far has been the Skeleton dress from
my Capriole collection, which is inspired by parachute jumping (a
sport I quite enjoy). The Skeleton dress visualises the inside of the
body and translates the transformation I feel when I free-fall for one
and a half minute. We 3D-scanned a model for the show, which
helped get all the millimetres rightly fi tted. After it was printed it
had to be hand-fi nished and stitched by hand to make it wearable.
It took us three months to make, and let me tell you, they weren’t
easy months. The Skeleton dress represents freedom and imperfec-
tion, and in between those beauty can be found. My triangle of in-
spiration comes from nature, art and science. I fi nd beauty in con-
trasts, contrasts at the intersection between precision and chaos,
art and science, and the artifi cial and organic.”—Rujuta VaidyaS S ’ ICW ’ GETTY IMAGES; INDITAL MEDIA; SHUTTERSTOCK.COMMARCJACOBS
To categorise Marc Jacobs as an emotional maximalist is the only way to
study his body of work. Marrying whimsy with great design and taking giant
leaps of faith is how Jacobs has approached his nearly three-decade-long
career. In her most recent review, Vanessa Friedman formulated the exis-
tential question that perhaps Jacobs is trying to answer: “Oh hello, fashion.
Where have you been? Where are you going?” The designer explored the con-
cept of everyday couture, bringing back taffeta gowns, plumes, beanies with
feathers, moire shirts, hand-painted silks and more. Last season he went for exag-
gerated coats, and hats, which seemed to engulf the wearer to the point of obscu-
rity. But beyond size, Jacobs makes a strong case for maximalism as a quotidian
habit. Shocking the audience is the very thrill he thrives on.—Rujuta VaidyaSPRING ’ COUTURE