If one word could define the state of fashion in India this year, it would be "blah." While there were a few standout moments that captured the public's imagination, they were exceptions in a landscape increasingly dominated by the pursuit of online visibility rather than creative evolution. The industry, from high-profile runways to glamorous red carpets, seemed engineered more for social media circulation than for expanding the artistic vocabulary of clothing.
The Spectacle of Runway Shows: Viral Over Visionary
The year kicked off with a grand celebration in Mumbai, marking 25 years of the couture brand Sabyasachi. Over 600 international guests witnessed 150 looks that blended Kolkata's heritage with global shapes. However, the collection broke no new ground. Designer Sabyasachi Mukherjee leaned into existing trends, presenting bejewelled tops with slogans like "All Dressed Up Nowhere To Go," "Dog dad," and "Cat lady." These pieces predictably went viral and became memes, but did little to advance fashion as a craft.
Three months later, another major event unfolded at Mumbai's Gateway of India, where British label Vivienne Westwood staged its first-ever show in the country. The collection promised a fusion of Victorian-inspired khadi, Chanderi silk, and punk aesthetics. Yet, the result felt less like a coherent synthesis and more like a confusing mix of ideas. The presence of Bollywood A-listers in the front row guaranteed massive online buzz, once again proving that social media traction often overshadowed the actual design narrative.
The Tyranny of Trends and the Thirst for Visibility
The appetite for outrageous spectacle reached new heights, with stunts ranging from carrying a grand piano on the red carpet to the launch of a controversial pube thong. A clever gimmick or a celebrity showstopper became the surest way for a brand or individual to seize the spotlight. This was evident at the Lakmé Fashion Week's 25th year, where headlines focused more on the actor closing a show than on the designs presented.
Amid this noise, designers who were genuinely attempting to push creative boundaries, like Sonam Khetan and Aseem Kapoor, often struggled for attention, typically lacking a celebrity draw. The consumer mindset mirrored this shift, with choices driven by the potential for likes and comments. The super-wealthy flaunted opulent jewellery at destination weddings on social media, while Gen Z meticulously recreated viral Instagram looks, such as copying model Bhavitha Mandava's Chanel outfit, dedicated to a specific hashtag.
This cycle, fueled by unimaginative algorithms, reduced fashion to a transient dress-up game—created to be photographed, shared, and forgotten. This not only promotes excessive consumption but also stunts the growth of fashion as a lived-in art form. It reinforces a damaging idea that visibility can only be achieved through trend-chasing and outrageousness.
Rediscovering the Joy of Personal Style
True fashion is not merely a reflection of the world but a medium for fantasy, self-discovery, and personal celebration. The real thrill lies in styling a suede jacket with a vintage belt or buying a unique, budget-stretching flower-shaped ring not because it's trending, but because it marks a personal milestone. Every wear and re-wear should bring joy and reveal a facet of one's unique personality.
In essence, when fashion liberates itself from the chaotic autocracy of the trend cycle, it fulfills its true purpose: to create garments with intent and imagination—work that resonates and endures long after the moment has passed. The hope for the coming year is a return to this foundational joy, moving beyond the 'blah' towards more meaningful expression.
