Ritu Kumar

@sonamkapoor in Ritu Kumar Couture. The PITCH PATCH DRESS - Organza and silk dupion silk screen printed. Its translucence is speckled with fine Aari and Zardozi gold. The print is a patchwork of archival prints from the Ritu Kumar archives and tinted for a light vintage pastel quality. This trapeze dress finds its volume in an underlined tuile structure. #RituKumarCouture #SonamKapoor #RituKumarCouture #SonamKapoor

Shine in a spectrum of vegetable tones, this season marked a shift from the classicism of Ritu Kumar. Amazonia FW’24 presents a curation of sharp lines and strident individualism. Explore online & in-stores. #RituKumar #FestiveWinter24 #RituKumar #FestiveWinter24

Mrs. Nita Ambani continues to make India’s textile heritage proud globally as she wears a vintage indigo sari from our archives in Paris at the first ever India House at the Olympics. This sari is in traditional indigo, a special colour of NEEL associated with Lord Krishna. The contrast embroidery is done in Ritu Kumar’s original vintage revival work exhibited at the Festival of India in the 70s. Time and detailing edge the ensemble as Mrs Ambani wears it with grace. @reliancefoundation @indianolympichouse #RituKumarCouture #nitaambani #RituKumarCouture #nitaambani

Vaani Kapoor in Ritu Kumar Couture wearing Aster Saree. The Aster saree is a celebration of vibrant florals highligted with delicate sequin embroidery. It blends contemporary patchwork techniques with timeless traditional motifs. This collection is a playful fusion of colors, creating a balance between tradition and modernity. #RituKumarCouture #VaaniKapoor #RituKumarCouture #VaaniKapoor

This seasons is a marked shift from the classicism of Ritu Kumar and delivers a collection with sharp lines and strident individualism. It uses an amalgam of juxtaposed inspirations from the brutalism of India’s architecture of the 50’s, the deep shadow tones of the rain forest, the lustre of brocade and velvet. Kimkhwab brocades, Chanderi and velvet, shine in a spectrum of vegetable tones highlighted with metallic zardozi. The shapes include patterned jackets, sweeping dresses & co-ords which are the mainstay for the season. Photographer : @nishanth.radhakrishnan Stylist : @samar.rajput05 #RituKumar #FestiveWinter24 #RituKumar #FestiveWinter24

This seasons is a marked shift from the classicism of Ritu Kumar and delivers a collection with sharp lines and strident individualism.It uses an amalgam of juxtaposed inspirations from the brutalism of India’s architecture of the 50’s, the deep shadow tones of the rain forest, the lustre of brocade and velvet.Kimkhwab brocades, Chanderi and velvet, shine in a spectrum of vegetable tones highlighted with metallic zardozi. The shapes include patterned jackets, sweeping dresses & co-ords which are the mainstay for the season.Photographer @nishanth.radhakrishnan Stylist @samar.rajput05 HMU @goshgaurav #RituKumar #FestiveWinter24

This seasons is a marked shift from the classicism of Ritu Kumar and delivers a collection with sharp lines and strident individualism.Amazonia FW’24 #RituKumar #FestiveWinter24

Sharp Lines & Strident Individualism Festive Winter’24 Coming Soon! #RituKumar #FestiveWinter24 #RituKumar #FestiveWinter24

| via @ritu.ritukumar Travelling on the Silk Road in Uzbekistan, we were on the search for the origin of the famous ikat. Margilon in Fergana Valley with its silk factories held the answers...Margilon’s bazar known as Kumptepa has been around since the 4th century, its merchant clans remaining key players in Central Asia’s commerce and silk trade until the last few decades of Soviet rule. I had high hopes of finding several varieties of the famed ikat here.The bazar threw up hundreds of options-at very cheap, wholesale prices-of ikats from factories and workshops from all over Margilon. There were silk, cotton and some synthetic ikats too which were aesthetically underwhelming. What I noticed instantly was that some substance of the original ikats seems to have been lost. Most appeared shiny, flat and devoid of subtle patterns and colour palettes of the traditional Fergana variety.Upon reflecting on what exactly was missing in these ikats compared to the revival fabrics I was working with in the villages of Odisha or the antiques found in museums up and down Uzbekistan, I settled on an answer. It was that they were using modern tie-and-dye techniques, that is, employing a lathe and plastic to dye the yarn so as to prevent any dye leakage, which deterred the the fuzzy, cloudlike effect of the old ikats. Increasing mechanisation had transformed these handicrafts as they rolled out millions of meters of iridescent rainbows of dubious sensibility each year #RKArchive