Anju Modi’s traditional collection was a burst of colour which displayed Radha-Krishna bhakti, says Mansi Bhansali
Anju Modi’s collection Sunehri Kothi focussed on Rajputana’s haveli culture and tradition on the fourth day of the Indian Couture Week. In her couture line, she focussed on intricate details and the use of threadwork on a variety of rich fabrics. It was her tribute to heirlooms of a grand past, much of which has been decimated, but much of which has passed down and lived on in the smallest of details. “Travelling through the land of the kings, Rajasthan, I found myself on a road less taken to a humble yet resolute mansion, the Sunehri Kothi. Its weathered and rugged exteriors did not take away the grandeur of what was once a golden chalet. In this collection, I bring alive its gold emblazoned interiors and intricate architectural detail, allowing a peek into the Sunehri Kothi that also emerged in the miniature art forms of that region,” said Modi.
The stage was set up as a forest where birds could be heard chirping incessantly. The show started with Umrao Jaan style lehengas that models draped from the left and tucked into their waists. Embellished with laser-cut gota and 3-D flowers, the lehengas swished about with a breath of life.
The show started with all-white ensembles. Both male and female models sashayed down the ramp with elan, with a side shawl as accompaniment. The look was further enhanced by dhoti pants, modernised kurti, layered blouses and flared long skirts.
Modi, who is into minutiae, researched about Rajasthani miniature art, be it in paintings, enamelled art or jewellery. “The miniature art inspired me. My show-stopper, Dia Mirza, looked like a Rajasthani princess. I want to give credit for this collection to Princess Vaishnavi Kumari of Kishangarh who provided me the details regarding miniature art. The portraits and the fashion that we saw in those eras are immemorial but what I tried to do is reinterpret them as costume art in today’s context. Unlike similar colours, I’m experimenting with several combinations of unusual colours. This thought came from miniature paintings,” she told us.
The collection was contemporised with the use of sea blue, dark green and maroon which was approved by the audience.
Net, gota and embroidery was seen in almost all her attires. “I like organic fabrics which I have been developing for 25 years. I’ve used chanderis, velvet, dupion silk, organza and much more. We’ve also included Vrindavan’s raaslila, a standard motif of the Kishangarh school of miniature paintings.” So while Dia was made to look like Radha, the rest looked like gopikas and men in Krishna attire.
After the white collection, it was purple and yellow with a heavy usage of velvet. The designer revived the vintage style of draping the saree from the shoulder.
Dia wore the collection’s most embellished piece, which was made of hand-crafted organza.
Modi said, “We are in a country where more than 350 years ago, the couturiers used royal textiles and elevated dressing up into an art form. We are trying to revive this attitude, albeit through wearable adaptations. Krishna always appeared in layers of drapes and I have tried to keep the same logic for the men,” said the designer.
Mirza was happy to be Modi’s showstopper. Said she, “She is one of the designers, who for the last 20 years has been responsible for protecting and nurturing our heritage, handicrafts and textiles. She likes to cherish what is Indian. I don’t like to mess with it and that’s what so resonant in her collection. I felt exquisite today wearing this beautifully handcrafted outfit. It’s delicate and intricate. It has a mix of traditional as well as a contemporary touch. I felt transported to some other world while depicting Radha from this miniature painting. This will be one of my iconic performances.”