Saturday, October 28, 2000 |
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While most brides still prefer the traditional saree or costumes of their communities, there is a distinct trend towards creating designer ensemble for that exclusive look, says Vimla Patil WITH the Atulya Mafatlal-Sheetal Bhagat wedding in Mumbai creating unprecedented media hype, Pallavi Jaikishen, who designed the bridal outfits — for both the bride and the groom — together with Versace, has been uppermost in the minds of fashion aficionados. Arguably, Pallavi is one of the three most sought after wedding ensemble designers of India and every year more than 50 top- notch Indian brides all over the world book her to create their bridal outift. The other two, according to high society barometers, are Abu Sandeep and Tarun Tahiliani. "The trousseau business really changed in the nineties," says Pallavi, who takes brides only by appointment, "Not so long ago, Indian families worked around the ‘durzee concept.’ The family tailor would come to the wedding house, and brides — with friends or family — would discuss with him what she wanted to wear. Usually, the outfits in the trousseau were based on traditional cholis and sarees or ghagra cholis or salwar kameezes in red, maroon, pink or other bridal colours. The jewellery was also regional and fixed even in the number of items. Yes, there was a tendency to look at film actresses like Nargis, Waheeda Rehman or Sharmila Tagore and the bridal outfits they wore in their filmi weddings. But there was little chance to copy them accurately. |
"In the mid-nineties, however, this laidback scenario began to change. Designers began to rise on the horizon of the fast-developing fashion industry and, in time, each made a name for himself or herself. The look, the colour and more emphatically the kind of embroidery began to be branded and was recognised as the work of a specific designer. Brides from well-to-do families began to patronise their designers. As younger heroines came into technically superb films, the wedding or party clothes worn by Madhuri Dixit, Kajol, Aishwarya Rai, Manisha Koirala, Karisma Kapoor and others became the rage of society weddings. Indeed, Madhuri’s purple outfit in Hum Apke Hain Kaun set a trend for purple that year. Aishwarya’s peach outfit in Aur Pyar Ho Gaya created an excitement among the brides of that year. Today’s films, which are called ‘wedding videos’ in humour, have many designers working for the heroines, and brides love to follow the trend set by stars." However, Pallavi follows her own genius. Her embroidery tilts towards European work but the clothes are very Indian. "I don’t mess around with the basic bridal look. The flared ghagra and the fitting choli is the right outfit for a bride but variations in chunnis and cholis are possible. I decide the outfit, the fabric, the colour and the look depending upon the season, the venue, the bride’s personality and of course, her budget. Sometimes, I do the bridegroom’s or the entire bridal party’s clothes. I also advise on jewellery and accessories. It is difficult to record or photograph such exclusively created clothes because brides are very superstitious about the clothes and do not want models to wear them. The clothes are actually packed away from prying eyes and brought out just before the wedding." Pallavi has a workshop where 150 karigars are employed the year round. More recently, she opened her boutique in central Mumbai to showcase her clothes in the affordable line. "My shop reflects my personality in the best way," she says. Pallavi, Abu Sandeep and Tarun Tahiliani are holding up the wedding fashion industry on their able shoulders. Though other designers also do bridal outfits, they are recognised as the best. Now with the winter marriage season setting in, no doubt they will be kept busy! Down the social ladder, in the middle class, brides choose copies of designer clothes in high street stores or get them made by their family tailors, keeping in mind the trend shown by the designers.
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