Rightly titled ‘Bridal Odyssey’, Erum pulled off a majestic amalgam of sorts. Lehengas that exuded inimitable technique and intricate needlework, the ramp immediately radiated a regal vibe. A prudently elected palette consisting of hues like marsala and muted green, I wouldn’t be surprised if prospective brides race to the designer for their wedding wear – let’s make that imperial wedding wear!
And here’s where one started wondering if collections were edited at all for FPW.
Erum Khan’s ‘Bridal Odyssey’ was replete with an overdose of thick embroideries. The long-hackneyed peplum made a not-too-welcome appearance, there were the requisite bridal reds and some unfathomable cutwork. The kiran border also made appearances. (Kiran, by the way, is now definitely an ‘in’ thing in wedding fashion and considering the way it flitted into every collection, it may just become the future peplum.)
Interestingly, Erum Khan’s collection didn’t tell just a single story, but a collection of tales that have been traveling since the age of traditional dresses. Each piece created by her was a permutation of new age fashion with a hint of ritual. The colours of the dresses were selected very judiciously, where maroon and pink played a role in establishing the aura of royalty and fashion forward aqua and grey, propel it firmly into modern day fashion.