Rules of the runway

Ace fashion choreographer Rashmi Virmani talks about how she gives shape to designer dreams

November 05, 2016 01:44 pm | Updated December 02, 2016 01:42 pm IST - Delhi

Rashmi Virmani

Rashmi Virmani

During a fashion week, all eyes are glued on the ramp but few know what goes behind the scenes, the music, the walk, the lights, in short the way the whole show is executed. Translating the vision of a designer requires creativity and commitment. And this is where Rashmi Virmani comes in. For years, the seasoned choreographer and show director, is giving shape to designer dreams in fashion weeks.Unlike the set of a film, the show is live and there can be no retakes.

Rashmi gives the example of the recent fashion week where she choreographed the show for designer Samant Chauhan. “Samant wanted us to use snow flakes in the show. I wanted to know exactly where snow flakes were thrown so that my models don’t slip. So I saw how it becomes a soft rock. And then we did fittings,” says Rashmi, while sitting in her house at Gulmohar Park, which is known as a colony of the scribes.

In early nineties when fashion was in its infancy and designers like Rohit Bal, J.J. Valaya, Rina Dhaka were learning the ropes, Rashmi, a fashion journalist then, was nurturing a desire to direct their shows.

“During that time, Madhu Jain was doing detailed work on weaves. So I had an opportunity to work with her. She cast an impression on my career. Rohit Khosla taught me importance of the finale and how it leaves a good taste in everybody’s mind. Rina Dhaka had a creative way of presenting Indian ensembles and fusion. I worked very closely with Gudda and JJ Valaya. We were all growing up together. Ritu Beri listened to her own heart and did what she wanted to. And that is the reason where she is today,” reflects Rashmi who is working with Ritu on her next show in Kathmandu.

Coming to her craft, Rashmi says green room is the nerve centre of a fashion show. “Life in green room has to be easy while the finishing touches for the show are being done. I make sure that my green room is a peaceful place. Make-up artists in green room create lot of chaos. So they are forbidden. Food and beverage, including coffee machines, are placed outside.”

Experience has made Rashmi extremely sensitive to wine. “Once in Chennai, there was a show in which a supermodel consumed wine in excess in the green room. Models waited for her on the ramp. When she came, she walked in an asymmetrical manner and exited. Fortunately, other models took the ramp and saved the day. I was sitting at technical console and knew that she had goofed up. I never touched her after that and do not allow wine inside the green room. A peg before a show is okay but as a professional you need to know how much you can handle.”

The walk of the models, Rashmi says, depends on what the story is. “Music sets the tone. It is defined by the designer and show director. The goal is that attention has to remain on the garment. At times walk is stiffer, guided by silhouette. There is no fixed rule here, it depends on what the designer wants. These days many want to express energy.”

Talking about the impact of Bollywood on choreography and ramp design, Rashmi says of late, the sensibilities of Bollywood are matching those of fashion world. “Bollywood films are not what they used to be. If you see a Sanjay Leela Bhansali’s set it has 20 fashion show sets of couture embedded in that. So our direction has come a long way. A lot of money is being spent. Our best make-up artists are now keen to go there. I have lost lot of make up artists to Bollywood. They would rather work there because money is so good there. Bollywood used to influence fashion world but then came a time when it became a taboo to fashion. Now there is a revival because Bollywood is once again setting trends. You have Manish Malhotra who has one foot in Bollywood and one foot in fashion and he is dictating trends to an extent. Look at Anju Modi, how beautifully she has extended her talent to Bollywood. These designers are an assets to Bollywood and they are contributing in taking costumes to a level which is fantastic. We needed to move away from dresswala. A lot of upcoming designer in fashion institutes want to draw influence from films.”

Sometimes, film music and regional tunes also play an important role in getting attention to the outfits. Rashmi recalls a show that she choreographed in Hyderabad. “We used nice music for a pret show of sari. We got regular claps. Then, organisers and I decided to do tamasha because bookings had been done. For the second show we put in regional music and I saw 3,000 phones flashing up on models. Then I realised when you put local music or Bollywood it brings instant response. So localising fashion sensibilities also might work. Bollywood music works but it depends on the tone of the show. Like for Anushree Reddy show at Lakme Fashion Week, we used film music. In fact, Kanika Kapoor sang ‘Chitiya Kalaiya’ live.”

Coming to individual designers, Rashmi says designer’s vision has to be translated in an aesthetic seamless manner. “Rina Dhaka is very clear about the look she wants. She decides who would be walking in her clothes. A man of few words, Rajesh Pratap Singh is clear in his vision. I was pleasantly surprised when he sent me the music he wanted for his Woolmark show.” Some designers like Mandira Wirk leave everything to the choreographer. “Gaurav Jai Gupta likes working on challenges. We did a show with him where he managed to make the oversized trousers look beautiful. Young designer may not be knowing about lighting and technicalities but know what they want from their shows. They are clear headed and trust you”

Ultimately, it is the model who essays the story on the ramp. “Height is extremely important. We are not casting for a film; we don’t see only the face but things in totality like bone structure, attitude and how good they are in picking up instructions. If there are 16 models in a group and I am friendly with ten of them then it does not mean I would take all of them. It depends on requirement of my show. I would cast a model only if she fits in my show. How flexible she is in a catwalk; whether she is lean or slim bodied – every show has a different favourite.”

Initially, Rashmi recalls, model hunting was not easy in India considering that there were not many long legged ramp scorchers.

“During that time whenever you found a tall girl you had no option but to take her. We have tall models even today like Sana Sheikh but now we also have an influx of foreign models. When we want a tall bunch of models, we go for foreign models. Their number is as many as Indian models. Today, it is all about mixing ethnicities on the ramp.”

In lingerie shows, Rashmi observes, Indian models do have a problem. “Bumcheek is a big issue with them. Of course, we have Carol, Bhavna Somaiya, Joey Mathews who get ten on ten on body toning but options are limited.”

Finally, what gives her satisfaction? “When the show goes off really well it gives me a high,” says Rashmi as a parting shot.

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