February 2020 Issue Apparel February 2020 issue

or add added long, floor floor-length ded d ed long floor-lengt lengt th th trains to the e sleeves in place of the dupatta. There are, of co course, ourse, the hard-core traditional bridal designers al wear design ners who swear by the dupatta—Tarun Tahiliani, Shyamal and Bhumika, Sabyasachi Mukherjee, Pallavi Jaikishan, and Anita Dongre ensure that at the dupattas is the very nucleus of their creations. eations. COLOURS GALORE Talking about colours for the grand trio, , it was red that brides always preferred in the past (as in many Hindu traditions, red is s considered as an auspicious colour). While designers create in the hues of red even n today, over the past few years, they have ve been taking to the more unconventional al palette of beige, grey, white, black, etc. Among the many designers who favour black are Rina Dhaka and APPAREL DIAPHANOUS DUPATTAS The dupatta, which has evolved from its rustic interpretation of an odhani or odhana, is the final important element that completes this eye-catching trio. In the last decade, dupattas, although a feminine, glamorous addition, have, at times, been totally eliminated by designers such as Amit Aggarwal, having been replaced with a capes or drapes that emerge and flow from the choli or lehenga. At other times, the likes of Anamika Khanna have added sheer, butterfly sleeves for draped robes on their creations. Others such as Anushree Reddy, Gaurav Gupta, Julie Shah, Shantanu and Nikhil, Sanjukta Dutta, Anju Modi, and Manish Arora prefer to allow the lehenga and choli to make a fashion statement, giving the dupatta a miss. Many designers have also used the dupatta as a veil that is similar to the Western wedding gown, I February 2020 I 105

February 2020 Issue Apparel February 2020 issue | Page 113