Dare to wear | Cover Story

ANUP PRAKASH AND KIRAN PANDAY

ANUP PRAKASH AND KIRAN PANDAY

As models sashayed down the ramp at this year's Sunsilk Fashion Week, talent scouts and the fashion conscious had plenty to choose from. As Shailaja Adhikary, managing director of the IEC School of Art and Fashion, said, "Fashion week is a baby at the moment, but there is a lot of potential in Nepali designers." This potential was obvious among the 135 entrants, a few of them established professionals but most IEC students. With a dizzying array of colours and fabrics—ranging from brocade, chiffon, denim and lycra to traditional Hakkupatasi and Dhaka—there was plenty of talent on display, and following the event several of the designers received orders or enquiries from local and Indian fashion warehouses.

Student designer Isha Agrawal and her group's Shimmering Night collection of formal evening gowns in satin, lycra, and net could be a hit at high society parties. The sophistication and elegance of the group's formalwear presentation sizzled, even in the air-conditioned hall of the Hyatt Regency. "Ours was a collection for the status-minded," said Isha who, believe it or not, is only 17 years old. Still, talent shines brightly, and she has already received orders for 10 dresses in the last two weeks.

There was also a healthy selection of trendy clothes aimed at the younger generation, especially hip prints on light colours. Che Guevara may be passé in western fashion, but here where the revolution is in the air designers Saurav Acharya, 22, and Kishore Raut, 21, brought him back in full force. The duo produced three themes, one using Che prints on denim, georgette and chiffon. "Fashion is a walking canvas that can inspire people. We wanted to inspire teenagers to fight against the forces of feudalism," says Raut, who has come a long way from being a delivery boy. From the warm reception that their collection got, it's likely you'll be seeing a lot more of Che in the days to come. Still, as always the real challenge was designing clothes that have enough flair and creativity for the catwalk but can also make the transition into everyday wear.

ANUP PRAKASH AND KIRAN PANDAY

ANUP PRAKASH AND KIRAN PANDAY

Although there was loads of creativity, a lot of the daring designs may have problems doing the latter. Designers were put to the test, trying to create items tastefully revealing enough for the fashion-conscious without crossing the line from sexy into sleazy. While some girls these days may dare to bare, much of the clothing wasn't particularly street-friendly—including some of the sari blouses and formal evening wear, which is generally aimed towards a more mature, conservative crowd.

Perhaps the middle path of funky, affordable pret-a-porter collections was difficult to find because the majority of the designers were students (of IEC institutes in Kathmandu, Pokhara, Birgunj, and Janakpur), or recent graduates or young professionals looking to make a statement.

ANUP PRAKASH AND KIRAN PANDAY

The show would have packed more punch if it hadn't focused almost exclusively on designs for women. There were decent suits for men (and also women) from BK Shrestha Tailoring Center, but besides that it was the standard fare of oversized shoes that made the male models look like they were doing the horse trot, and the type of shirts that sell by the dozen at local night markets. While many of us didn't mind too much, as long as the women looked good, strong men's collections are an essential component of a serious fashion week.

ANUP PRAKASH AND KIRAN PANDAY

Harder to understand is why Nepali designers often spoil their best creations with cartoonishly asymmetrical hemlines and extra frills more reminiscent of medieval court jesters than serious modern fashionistas. There were also a few grumbles about baggy kurta suruwals—generally accepted as a definite no-no—and an overabundance of floral prints. I personally also found the embroidery and sequins to be either a bit overdone or underworked, and floral embroidery on suits—even for women—a total turn off. And finally, although it's always good to promote local materials, the Hakkupatasi skirts and Dhaka dresses somehow bypassed sensuality completely and settled for being merely cute.

Still, there was plenty to enjoy, especially from a group of young IEC designers who thought to incorporate the unpredictable monsoon weather into the show with their Sparkling Splashy Rain range of printed raincoats, stylish umbrellas, hot pants, cropped tops and matching bags. Undoubtedly these will be all the rage next monsoon, although the catalogue didn't indicate a price range.

A few things the organisers have surely noted for next time: punctuality may be an alien concept in the world of Nepali event management, but it is still a virtue. Also, it's not just how many photographers you have present, but how you manage them. The press photographers' box at the end of the ramp was often overcrowded, and at times even filled with amateurs taking photos with their mobile phone cameras. It might also be worth investing more in training and choreography for our Nepali models, who often came across as lacklustre and unprofessional, especially next to their Indian counterparts. A bit more practice, attitude, and lessons on holding a pose for cameras would go a long way.

All things considered, the four-day extravaganza was a success that has left Nepal's fashion industry with plenty to mull over for months to come. Like in the first two years, Sunsilk Fashion Week succeeded in giving Nepali designers some much-needed exposure, and gave the rest of us a chance to put a little more style into life.