Khushi Kapoor was the designer’s show-stopper at Rimzim Dadu’s most recent exhibition at Hyundai India Couture Week, combining structure, tradition, and creativity in a look. Using Dadu’s unique, material-forward perspective, the collection, Oxynn, honors India’s indigenous crafts, particularly those of Gujarat.
Khushi Kapoor’s two-piece outfit perfectly captured the essence of the collection, which was “modern couture woven from memory and metal.” Dadu’s trademark metallic cords, pleated into wave-like shapes with a raw, architectural finish, were featured on the top, a sculpted halter-style bralette. To give it the appearance of lace borders, the edges were laced with circular wire ornamentation that imitated traditional mirror work. Reimagined in a futuristic manner, the unique empire seam featured a band inspired by seed beads, featuring beaded strings and metal wires curved like a scalloped border.
With each clover leaf design inlaid with square translucent panels that reflected light, the more textured skirt, which was created using metallic mesh and bespoke cloth, resembled latticework or an enlarged jaali. The combination of structured metal and sheer layering, as well as the lean and straight form, gave the ensemble an industrial yet decorative vibe.
A longer stacked diamond necklace, a turquoise and diamond choker that sat near the collarbone, a stack of bracelets, statement rings, and matching drop earrings were among the jewelry options. The color scheme contrasted sharply with the metallic greys of the ensemble and gave the whole ensemble a lively, tactile element. The makeup significantly emphasized the shimmering silver eye appearance, while the hair was styled in a delicate side-parted blowout.
Upcycling and eclectic sourcing are two of Banjara craft’s more inventive features; they existed long before they became trendy fashion terms. Patches from various pieces and multilayer embroidered fabrics were frequently redone by artisans, who viewed repairs as features rather than defects.
This inclination to reuse and reimagine is reflected in Rimzim Dadu’s material language, which shapes mesh textiles, metallic threads, and industrial wires into couture silhouettes—not despite, but precisely because of, their rawness.
