Amidst the cinematic panorama of Indian celluloid, Sonam Kapoor has emerged as a stalwart icon of vogue ever since her inaugural performance in ‘Saaw
Amidst the cinematic panorama of Indian celluloid, Sonam Kapoor has emerged as a stalwart icon of vogue ever since her inaugural performance in ‘Saawariya’ (2007). Her avant-garde and intrepid demeanor towards fashion propels her into the echelons of the most chic actresses within the Indian movie fraternity, distinguished by her idiosyncratic style.
Her inherent knack for seamlessly amalgamating neo-traditional attire imbues her sartorial persona with a distinct allure. The actress has orchestrated a plethora of fashion vignettes, seamlessly melding indigenous aesthetics with a contemporary edge, thereby etching her mark in the annals of style.
Whether it be her recent donning of a pink blazer, accentuated with traditional adornments, at the Dior Mumbai exhibit, or her groundbreaking interpretation of Indian couture at global galas, notably Cannes, each sartorial ensemble serves as a resolute testament to her evolving panache.
Her dalliance with experimental drapery, particularly sarees, has been particularly laudable, earning her the epithet of a fashion maven. Commencing several years prior with her flaunting of denim and pant sarees, her affinity for such attire endures steadfastly. Recently, she showcased her affinity once more as she graced the catwalk for designer Rimzim Dadu at the Blenders Pride Fashion NXT event in Gurugram.
Sonam, in the eyes of Rimzim, epitomizes‘ fashion royalty,’ an individual immune to sartorial missteps. Adorned in the designer’s signature metallic molten cord work, Sonam, now a new mother, effortlessly flaunted the meticulously structured drape – reminiscent of the azure-and-ebony saree from Rimzim that garnered attention at the Cannes Film Festival in 2016.
During one of her interviews with India Today preceding the event, Sonam reflected on whether motherhood had transmuted her relationship with fashion. In response, the ‘Neerja’ actress elucidated, “Post delivering Vayu, I found myself at a juncture where I grappled with a physique alien to me. It dawned upon me the necessity to embrace my newfound curves and physique gradually. Prioritizing the well-being of both myself and my child, I eschewed the urge to hastily shed weight, fostering a newfound appreciation for my physique while tempering self-judgment.”
Her fashion aspirations, consequently, evolved to accentuate her physique. “Henceforth, I find myself eschewing concealing attire in favor of accentuating my assets. I have come to realize the efficacy of accentuating one’s inherent attributes rather than veiling perceived flaws,” she expounded.
With a decade-long tenure at the vanguard of the fashion milieu, Sonam bears witness to a paradigm shift towards sustainability and indigenous craftsmanship within the industry.
She articulated, “I discern a palpable inclination towards effectuating change vis-à-vis sustainability and championing indigenous craftsmanship and textiles, a trajectory that is undeniably heartening.”
Nonetheless, Sonam opined that celebrities ought to recalibrate their outlook towards nascent, burgeoning designers. “It behooves us to recognize our pivotal role as trendsetters and lend support to emerging designers endeavoring to chart uncharted waters in sartorial innovation,” she asserted.
Highlighting the merits of collaboration with burgeoning talent, she remarked, “What is truly invigorating about collaborating with burgeoning talent is their propensity for pushing boundaries and engendering novel sartorial narratives. Hence, my collaboration with Rimzim during Cannes (2016) was a source of immense enthusiasm. Facilitating the ascent of burgeoning South Asian talents has always been a prerogative close to my heart.”
Sonam espouses the ethos of sustainable fashion fervently. In prior interviews, she reiterated the virtue of preserving garments and engaging in sartorial repetition. “Every garment I acquire is endowed with the virtue of multiplicity,” she proclaimed in November 2023.
She contends that the Indian ethos predisposes individuals towards sustainability. “As denizens of the Indian subcontinent, our cultural moorings inherently steer us towards sustainability. Historically, we availed ourselves of the services of local tailors, replete with a penchant for reutilizing familial heirlooms,” she elucidated.
“We subscribe to a philosophy of investing in attire conducive to repeated wear. Moreover, our fiscal prudence dissuades indulgence in profligacy. Ergo, the assimilation of sustainable practices within the Indian sartorial milieu is not merely expedient but eminently feasible. Let us eschew emulation of Western proclivities and instead hew to our indigenous ethos of sustainability and the propagation of ‘slow fashion’,” Sonam expounded to India Today.
In consonance with Sonam’s advocacy for ‘slow fashion,’ Rimzim Dadu champions a sustainable ethos epitomized by the creation of fewer but more substantive pieces.
Rimzim expounded, “We stand at an inflection point wherein the imperative of sustainability can no longer be gained. I am in the process of assimilating the tenets of sustainable fashion, cognizant of the irrefutable variety that the most sustainable action a fashion brand can undertake is abstention from existence or production. Thus, when contemplating sustainability, the cardinal objective is the production of fewer, yet more meaningful artifacts imbued with enduring design sensibilities, destined for posterity.”
Her conception of sustainability extends beyond textiles, encompassing the adoption of alternative materials with the potential to redefine the future of fashion.
“Furthermore, the operational modus operandi of our studio and factories is predicated upon sustainability, encompassing initiatives such as water conservation, employment of eco-friendly dyes, and conscientious packaging practices devoid of plastic. These represent incremental strides towards the overarching goal of sustainability,” the designer elucidated.
Conversely, while the duo converge on the imperatives of sustainability, their prognostications regarding fashion trends diverge starkly.
Sonam envisages a renaissance of high-waisted bell-bottoms, sarees, and salwar-kameez from the 60s, with a penchant for reviving the coiffure reminiscent of Rachel from FRIENDS. Rimzim Dadu, in contrast, predicts a resurgence of futuristic fashion, encapsulated by the ‘wanderlust’ aesthetic – characterized by holiday-centric apparel and glamorization for sundry occasions.
She posited, “In an era marked by ubiquitous digital dissemination and the democratization of fashion via incessant camera surveillance, the predilection towards sartorial flamboyance is poised to burgeon exponentially.”
The proliferation (and resurgence) of fashion phenomena such as ‘minimal fabulousness,’ the mob wife aesthetic, and ostentatious makeup align seamlessly with Rimzim Dadu.
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