In a quiet corner of her bustling atelier in Bandra, Mumbai, designer Neeta Lulla is weaving the magic of her artistry into the final details of the amber-yellow raw silk and tulle lehenga called Amulya. It’s undoubtedly one of the finest pieces from her new bridal collection.
Running her fingers across its long-sleeved blouse, adorned with intricate kasa and ek taar resham work, in addition to pearl beads, zari, stone, sequin and crystals, she checks for abrasions. Each detail on the garment is a testament to her passion for bridal couture.
“The dupatta shows women worshipping the tree, which in Indian tradition, symbolises nature, fertility and the interdependence of all aspects of life, through intricate embroidery. It transcends being a mere fashion garment; it’s a custodian of our country’s rich cultural legacy. That’s the kind of sartorial storytelling I believe in,” says 59-year-old Lulla.
For a designer who started her journey in 1986, when she operated out of a modest studio in Mahim, Mumbai, her career has been nothing short of extraordinary. From those early days when she designed simpler costumes to gaining pride of place as a coveted couturier, Lulla has earned a name as a favourite among brides. From the coy, conventional bride to the confident millennial one, and the non-conformist, trailblazing Gen-Z bride, she’s dressed them all.
“As designers, it is imperative we challenge our predispositions to walk in tow with the evolving needs of the contemporary woman. The willingness to expand one’s creative boundaries and adapt to the rapid changes in the industry is how you stay relevant,” says Lulla.
Unlike earlier when a handful of designs could capture the buyer’s interest, the modern bride is a discerning connoisseur of all things bespoke.
“She knows exactly what she wants, whether in terms of cuts, fabrics, embellishments, motifs or weaving cultural influences into personalised outfits,” says the designer, who noticed a significant shift within the fashion industry post-Covid-19.
“A distinct polarisation in tastes and preferences has ensued. Ostentatious outfits are back in vogue, but minimalist garments continue to endure. I also see an inclination towards experimentation in colour, with dandelion, flax, acid green, moss, vibrant tones of corals, fuschia, orchid and periwinkle stealing the show,” she says.
The veteran believes experimental garments will rule the roost this wedding season. Lehengas with two dupatta drapes, saris with trench coats, shararas with corsets, pre-stitched saris with belts and phone pouches, and anarkali jackets with ankle-length pants will thrive.
From her body of work, however, she points to what she believes is one of the most progressive creations: a vintage-inspired pearl peach lehenga with sequin florets and dainty crystal embroidery. It comes with a sheer basque adorned with katdana and crystal work, finished with butier cutwork at the edges, along with a matching dupatta and a tulle trail.
“It’s a perfect choice for brides looking for Western elements in their otherwise traditional attire without resorting to a dramatic overhaul,” says Lulla.
The Moana lehenga in tulle, embellished with self-colour sequin, katdana and beadwork is a gorgeous red outfit with floral applique work at the bottom. The traditional blouse has been replaced with a full-sleeve sequin bralette for a cosmopolitan look, while Twilight Princess is a modern piece with a voluminous skirt, bustier and dupatta in midnight blue.
“These two are head-turners; truly impossible to look away from,” she says.
Despite her extensive tenure in the industry, her enthusiasm for creating masterpieces remains unchanged. Only when she paints does her overworked mind find a moment of calm, where each stroke of the palette knife creates a dynamic narrative, which often becomes her muse.