The winter of 2025 is all about celebrating maximalism according to Delhi-based designers Rimple and Harpreet Narula. The duo, known for their maximalist couture in period dramas, such as the series Heeramandi and film Padmaavat, predict that this year is going to be about extravagance.
“For the winter of 2025, occasion wear is all about vintage elegance and cozy sophistication. Styles featuring luxurious textures like velvet, brocade, and quilted fabrics paired with intricate embroidery and metallic accents for a touch of glamour will be in while minimalistic looks that lack depth and personality will be outdated,” says Rimple.
Their latest collection, ‘Firangi Mahal’ is on maximalist lines. It is a blend of history, drama, and heritage that captures the glamour of 1920s and ’30s pre-independence India.
“It was a time when Indian and Mughal textiles merged seamlessly with European influences due to the British influence. Indian royals began adopting Western sartorial styles, commissioning works from European design houses. This era was a cultural melting pot, blending Mughal architecture, Persian carpets, chintz, and Art Deco with French laces and prints. It was also the golden age of cinema, inspired by icons like actors Devika Rani, Naseem Banu, and Zubeida Begum, whose stories and styles reflected an era of fantasy and elegance,” Rimple says.
The designers who are often inspired by their globe-trotting adventures to craft a collection, say that they travelled for ‘Firangi Mahal’ too.
“Our journeys have taken us to Turkey, where we explored Ottoman textiles, and The Calico Museum of Textiles in Ahmedabad, which houses invaluable pieces of Indian textile heritage. We’ve also referred to the archives of the Victoria and Albert Museum in London and studied books, artworks, and photography from that era. Spanish artists and their works from the time further inspired our exploration of patterns and colour palettes,” Harpreet tells TMS.
Their travels inspired them to use European prints, Mughal inlay work, floral and avian motifs, and Art Deco elements for the edit’s pieces like lehengas, kalidars, shararas, and saris. The ensembles evoke a sense of nostalgia for the bygone era as a result.
Speaking about the styles and crafts in the edit, Harpreet says: “The collection features ethereal tulle saris adorned with shimmering paillettes, sequins, and crystals. These are paired with beaded blouses, creating a harmonious blend of elegance and opulence. The lehengas and shararas showcase embroidery on the backs and sleeves - a design hallmark of the 1920s and 1930s, often seen in the wardrobes of royalty.”
He adds, “My personal favourites are the earthy red and deep maroon velvet lehenga. The skirt features floral and avian motifs gleaned from Mughal miniature art. It is paired with an illusion tie-up choli and an ornate silk organza dupatta. Another is a multi-hued tulle sari handcrafted with sequins and paillettes. It features floral vines drawn from archival chintz textile fragments and is paired with a sequin and crystal blouse with floral artworks derived from the 19th century mosaic panels.”
The collection’s pieces, such as an earthy gold kalidar and an ivory lehenga feature suzani - a traditional hand embroidered textile that originated from Central Asia, particularly Uzbekistan, Tajikistan, and Kazakhstan.
Rimple says that the vintage colours are also inspired by the past.
“The 1930s were characterised by a muted, soft, and dusty colour palette, which inspired the tones in this collection. Shades like soft ivory, champagne, and seafoam green - a gentle hue that was especially prominent in women’s fashion of that era, were commonly seen. The collection also incorporates various shades of pink, including pale pink and blush pink, reflecting the era’s embrace of femininity.” While the collection may be rooted in the bygone era, the designers believe that the pieces are reimagined for today’s bride who values “craftsmanship, cultural storytelling, and a unique, multi-layered sartorial experience.”