Tarun Tahiliani‘s name is pretty much synonymous with bridal couture. We’re not sure if this was the dream for him, but this is what is. His sensual garments are so dreamy and fantasy-like that even the most unromantic, unfazed woman will suddenly find her daydreams populated with visions of shimmery garments in sheer fabrics. We expect nothing but the best from a Couture Tarun show, but this was exceptional!
The Inspiration
‘The Last Dance Of The Courtesan’ was a Couture collection (he also had Ready-To-Wear pieces too) that was a tribute to the Indian courtesans (think Aishwarya Rai Bachchan in Umrao Jaan when she played the character of the same name) and featured all the beauty grace and poetry that these women of the past did.
The New Age Creativity
Tarun chose sheer fabrics in a palette of pastels – blush pinks (our favourite!) beige, peach, jade and ivory. Whether it was tulle, brocade or sheer silk, the fabrics worked as a canvas for the intricate thread work and crystals courtesy his association with Swarovski. And thanks to those very crystals, the subdued, subtle colours were suddenly uplifted to a cosmic level.
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
Tarun Tahiliani at ICW 2016
But what we appreciated and really got on board with is the fact that Tarun’s collection focussed on the idea of the modern woman and ideas of lightness and ease even when it comes to bridal wear. Everything about this collection, be it the colours, fabrics and most importantly the silhouettes spelt modern ease. Tarun experimented with contemporary silhouettes and gave traditional clothes a modern edge. He had a sleeveless anarkali that you could slip on much like you would a jumpsuit; he had corsetted kurtas and draped lehengas. He used crystals of course, but not OTT bling. The opal saris had a muted shimmer that was festive but not in your face. He also used mother of pearl, floral motifs, zardosi, gota work and French knots.
All in all, his collection simply spelled understated elegance with a touch of sparkle. And what more could you ask for when you want a bit of desi luxury?