Young designer Poshitha Allu brings emotions to life through sculptural fashion

At just 21, Poshitha Allu, a fourth-year Fashion Design student at Woxsen University, is already earning consecutive national features for her concept-led collection, Po in Wonderland. Her core idea is simple: fabric as a psychological medium. “Instead of beginning with trends,” she explains, “I study how emotions alter posture, presence, and spatial occupation.” She observes how laughter expands the body, how restraint sharpens it, how creativity layers itself, and how softness diffuses space. These intangible shifts become her design language, translated into silhouette, engineered volume, and sculptural surface manipulation.

Seven characters, seven emotional worlds

Po in Wonderland unfolds as a narrative collection built around a character named Po, who begins in a quiet black-and-white world where certain emotions feel absent. When Po enters Wonderland, she encounters seven characters, each embodying an emotional quality her world lacked. Through them, she gradually discovers laughter, creativity, curiosity, joy, reflection, and the beauty of fleeting moments. Each character becomes the conceptual starting point for a set of garments, interpreted through proportion, volume, and textile surfaces.

Among the most striking is Queen Gigglebone, who embodies laughter “bold, loud, and impossible to ignore.” To translate that into design, Poshitha focused on expansion. “Laughter rarely stays contained; it bounces, spills outward, and fills the space around it,” she says. The garments project away from the body through exaggerated volumes and rounded, buoyant forms. Layered surfaces build intensity and movement, allowing the silhouette itself to carry what she calls “the exuberance of laughter.”

For a student designer, balancing such conceptual storytelling with practical construction could feel overwhelming. Yet Poshitha sees them as inseparable. “Storytelling and construction develop together rather than separately,” she says. Through sketching, draping, toiling, pattern-making, and textile development, the narrative gradually becomes wearable form. By staying attentive to technical precision, she ensures that the concept does not remain abstract, but translates seamlessly into reality—much like Po herself, who emerges from wonder transformed, vibrant, and fully present.

—manuvipin@newindianexpress.com

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