Farmer’s son from coal mines wins Circular Design Challenge
He saw how his father repaired an old umbrella, or sewed mom’s old saris into a mattress for 9 kids, Saurabh Maurya from Singrauli understands substantiality as he has lived it! By Asmita Aggarwal Saurabh Maurya is from a non-descript town of Singrauli, Madhya Pradesh, better known for the NTPC power plant, coal reserves, and mining, where most locals are employed. Like most impoverished children growing up in rural India who aspire for government jobs, Saurabh did too. He was encouraged at home to try for engineering and medicine, to give stability to his siblings, but it was a senior studying at NIFT who changed the course of a young, impressionable boy’s life forever. Saurabh decided to follow his heart, study fashion design in Bangalore-in hindsight it was the right move. He launched his label post graduating in 2019 believing that Margin or his brand Margn, will channel sustainability. “Isn’t that what margin means you have space to alter? I must confess where I came from no one even knows the word fashion,” he smiles. Quite apt! Eight years he has been working with the Lahaul, Darcha, Jhanjeli, and Spiti (Himalayan region) intermixing indigenous handcrafts with eponymous knits, creating a pool of 62 artisans, though he started with just three. “We added hand crochet and knits to this brewing cauldron along with my co-founder Rohit Yadav. This was part of our college project which made our hearts sing, so we continued,” he says. Rohit and he are vastly unique, the former loves finance and maths, Saurabh is free spirited, more creative. “I realised while living in Lahaul, tourism generates enormous waste-specially paragliding, he put that to good use along with recycled cotton. Parachutes were transformed into wind sheeters, trousers and work wear essentials like puffer jackets using mostly layering and appliques. “We mix knits with insulated material, but we haven’t forgotten Lahauli motifs, geometric, vibrant, multi-coloured nomadic patterns, which have won a GI tag too. As well as fruits, plants and flowers,” he explains. Most artisans don’t work in summer, they grow crops to sustain through the harsh winter, so Saurabh gave them more work when they are at home-warm, knitted caps, to covers. This wisdom came from watching his father crafting new things and repairing by age-old hand techniques. “He had no choice. I came from an impoverished family of 9 siblings. He taught us how to make things last as buying new or discarding broken things wasn’t an option,” he adds. His father resisted his attempts to work in fashion, he still doesn’t understand what he does, but after NIFT and much convincing he came around. “I had to tell them I could do it, give me a chance even though I had no angel investor or bank balance. When you are a farmer’s son, you are busy saving resources, you learn to live on little. I saw my father repair an umbrella with recycled plastic cover, make mattresses using my mom’s old torn saris,” he affirms. His CDC line is an homage to his indomitable spirit–titled “Origins”, how staying with him in the fields, sowing crops, he learnt life lessons, “how he would sell his crops, his strong ideals, perspective everything helped me reach where I am today,” he concludes.
Dearly beloved lehenga, you can be upcycled
You buy an Aisha Rao due to its superlative design, just as the Tesla, bonus is it’s electric, same way as Hyderabad-based Aisha Rao recycles, creates own fabrics, keeping no room for wastage. This time see her twist on traditional South jewellery, designed for an intrepid bride. By Asmita Aggarwal Is Hyderabad the new Delhi? With the growing number of tech billionaires, cash inflow is enormous, and if you thought the South, unlike Mumbai, more understated, shied away from colour, Aisha Rao will prove you otherwise. With the moniker “Purposeful luxury” her ideology channels upcycling, applique and techniques like in-house fabric production, not keeping unnecessary inventory, but focusing less on D Day bridal look, more on surrounding events like mehndi, cocktails, sangeet, “established10 giants in bridal wear are already popular with brides I needed to look beyond that space,” she grins, adding “There is no distinction now between North or South dressing, it is a global template.” However, the designer who studied law from NUJS, went to Parsons and IED, Barcelona believes, subtle difference between North Vs South is that the latter won’t compromise in quality, even if that means shelling out big bucks. “I was feeling typecast as a mehndi designer, I wanted to look at other things. We decided to offer lighter lehengas, fewer kalis, and our embroideries are not weighty,” she adds. The waste of lining, lurex, dobby is recycled into bridal wear, the beauty lies in architecture inspired shapes and motifs. “Botanicals have been a mainstay, but we add a playful touch to it, using abstraction to make a point, we also have pockets in all our lehengas,” she explains. Aisha is a risk taker, she tied up with Kohler last year, to do metallics for the first time, focusing on “hardware”, this year it is homage to hues—but with an interesting theme—“Preyasi” in Sanskrit, translating to beloved. In literature this concept is recurring whether it is Anna Karenina (Leo Tolstoy), Wuthering Heights (Emily Brontë) or Pride and Prejudice (Jane Austen). “If you look at Mughal-e-Azam, Madhubala, there is love, longing, remembrance and final union,” she says. It may have been glamorized on 70 MM but there is an underlying tragedy as well as melancholy too. Like A R Rahman’s songs for the blockbuster “Taal”, unrequited love has been around for centuries. What’s engaging this year is her foray into fine jewellery, with Shree Jewellers, designing 25 precious pieces. One motif that spoke to her was the ubiquitous paisley. This quiet but impactful shape has been celebrated everywhere-Etro to European fashion houses for eons and no one is tired of it. She has reinterpreted the Telugu Mango mala, golden mangoes strung together, representing luck, growth, and fertility-shape is also known as a paisley but Rao has given it an Art Deco appeal. In traditional jewellery, Battu Mala is a classic bridal necklace, rows of coin-like medallions, can be worn as both a long necklace and a waist belt (Vaddanam). She has worked with Gutta Pusalu or in Telugu, “clusters of pearls”, it is generally passed on from mother to daughter worn with a Kanjeevaram. Though here it comes with a twist-Basra pearls and Navratan is the conventional format, Aisha has turned it around with diamond briolettes. “We made the diamonds look like pearls,” she smiles, a pop culture take on conventionality. The beauty of an Aisha Rao label is not to use big words like “reducing carbon footprints attempting to greenwash” but finding ways to reduce wastage, self-reliance, as they make their own fabrics, embroidery is woven in base material offering design intervention-in lace or mesh within the warp and weft. “We don’t want to depend on China or Korea for cheap fabrics, the key is the same as Tesla’s ideology, ‘you buy a Tesla for its design, the added advantage is its electric’,” she concludes.
Grooms get “lace-d” by Dolly J
Designer brings the artistry of Kashida, jaali work as Kashmiri paisleys offer engaging textures; Vani Kapoor wears Brahm flower petals recreated in the trail of her aubergine gown, as menswear brings alive Jamevar embroidery. By Asmita Aggarwal The ICW set mimicked Himalayan mountains, abode of Lord Shiva, thus began on the chants of Aigiri Nandini, to Mahamrityunjaya, declaring how women today are unafraid, in more ways celebrating how they have come into their own. The spotlight wasn’t on a petite girl, who can carry off a slinky gown, but plus-size model/activist Sakshi Sindwani who managed to work it with equal ease. Dolly J studied at the Patna College of Art, grew up amongst gardens, mango farms, flowers, so the aromas of Floribunda, a large part of her carefree childhood in Patna, still fresh in her mind. Dolly began as an artist, “steel man” Subodh Gupta was her senior in college, she was known for sculptures and oil on canvas, till she moved to designing. “Brahm Kamal no one sees blooming, as just for a few hours at night it comes to life and dies, like the soul, it leaves with us-an invisible force. I was looking for the meaning of life, Hindu texts offer that infinite wisdom– the ephemerality of life and its vagaries,” says Dolly. Thus, Vaani Kapoor’s trail is the petal mimicking the Brahm Kamal, which shows up in the form of brooches and clutches. Dolly’s mother, a collector of textiles and art has been an integral part of design journey, the silver fans that she gave both the daughter, became ignition for her couture show just like the trunk full of Jamevars she left, collected over 90 years. “I have loved Kashida because of its intricacy, and to replicate the paisley was a task, as we embroidered it, took us almost six months, extremely delicate,” she adds. For the first time Dolly has introduced menswear, it comes emblazoned with lace, as she believes men are now wanting an X factor, “I’ve seen boys roaming around with swatches looking to match their bride’s lehenga. A large part is to also capture memories, plus social media pressure, they want to look equally good.” Couture has always felt deeply personal to Dolly Jhunjhunwala, it’s not about exquisite craftsmanship or beautiful silhouettes; it’s about the emotions they hold. “It can bring back nostalgia, mirror your mood, become a part of your story. For me, couture isn’t just fashion; it’s a feeling you carry with you, long after you’ve worn it,” says the self-taught designer. “My mother always said, ‘Never be afraid of failure.’ Those words have stayed with me throughout my life.” True couture is inherently sustainable, it is crafted to be treasured, preserved, and passed down through generations. After 20 years in fashion, Dolly believes, many times she has seen ups and downs, business has weathered storms, but your passion is still alive, you’re already halfway there. Her first runway show in India was in 2010, and it’s a moment she remembers with great fondness. The collection featured crochet kalidaar sarees adorned with intricate Pichwai-inspired embroidery. “Craftsmanship has always been the soul of our brand. Banarasi has been constant because of its rich heritage, though this year we’ve consciously taken a step back to explore new directions,” she adds. This year at ICW the focus has been on menswear, highlighting the beauty of Kashmiri kashida embroidery. “I’m also excited to bring at least ten sarees to the runway this year,” she adds. “I’m quite surprised by how adventurous, aware men have become when it comes to dressing. The new-age groom is more open to experimenting with silhouettes, colours, rather than following only traditional choices,” she explains. While classic sherwani will always hold its place for the D-day, the groom is looking for something more personal, an outfit that reflects his individuality and makes his celebration truly his own. “This year at ICW, I’m quite excited about how we have explored jaali work, created purely with weave of threads, with no cloth as the base and layered it over Kashmiri paisleys, creating a unique interplay of texture and artistry,” she adds. “Indians have always shared a deep emotional connection with embroidery, it is a celebration of artistry, heritage, and storytelling. For me, luxury is not about excess; we create lighter lehengas by using refined techniques, thoughtful detailing, that allows the beauty to shine without overwhelming the wearer,” says Dolly. “Gen Z wants to enjoy weddings, dancing, not like us sitting on the stage, when we got married, so we make purpose driven clothing for a conscious generation, so that it can also be reused. Of course, I bring my grandma and mom’s emotions in what I do, so that it has enduring value for me. We have pre-stitched, pre-draped, saris with jaali work on pallu and skirts,” she explains. “When I’m not designing, I’m someone who finds joy in the little things, spending time with my loved ones, observing the world around me, and drawing inspiration from everyday moments. I believe these experiences shape my creativity and keep me connected to life beyond fashion,” she concludes.
Best couture becomes an heirloom: Jayanti Reddy
Jayanti Reddy believes good tailoring can be just as luxurious as heavy embroidery, balance is key, as she uses lighter base fabrics and strategic embroidery placement to offer brides unlimited comfort. By Asmita Aggarwal Hyderabad-based Jayanti Reddy has a sense of humour- despite being ferociously private, she says people assume “I’m constantly working or thinking about designs, but that’s not true! I’m a mom to a 4-year-old, that problem keeps me busier than couture does!” People rarely remember every embroidery detail—but they end up remembering how they felt, that’s how couture becomes part of family memories and milestones. “It’s something that’s preserved, not just worn once, that’s what makes it so special,” says Jayanti, who is known for her roomy shararas now a part of every modern bride’s to-buy list. Jayanti completed business administration and marketing from Case Western Reserve University, Ohio. She believes the biggest lesson she learnt coming from an established business family is that your reputation is everything. “Always deliver on your word. Relationships with clients matter more than quick wins. Stay grounded, no matter how much you grow,” she adds. The often-asked question is how every region has its own design language, but she believes both South and North have valued textiles and heirloom craftsmanship. “They just embrace grandeur and occasion dressing differently, Hyderabad has definitely evolved. There’s a younger, global client today who appreciates quiet over loud luxury,” she explains. Couture is made to last—not to be discarded after one season. Jayanti repurposed leftover textiles and embroideries across collections. “I believe longevity is the biggest form of sustainability. Luxury isn’t about ‘more’, but thoughtful decisions and beautiful construction, comfort and craftsmanship. Something you’ll still love 20 years later,” she says. After 15 years she has understood failure doesn’t mean you’re not talented. Fashion is as much a business as creativity, learn from what didn’t work. Resilience is probably the biggest competitive advantage. “My first show ever was at Lakme fashion week, Mumbai. I remember being far more nervous than excited. It was rooted in Indian textiles and craftsmanship. Looking back, I can see how much my aesthetic has evolved,” she confirms. She believes her contemporaries are doing well as there is a space for everyone to grow—Karan Torani is an incredible storyteller, has a strong brand language. Aisha Rao’s beautiful use of colour and prints, while Punit Balana brings fresh perspective and youthful aesthetic. “Banarasi has always fascinated me. We’ve worked with brocades, tissue, silks, zardozi, aari, dabka, naqshi and more. I enjoy taking traditional textiles into unexpected silhouettes. It’s about evolution. And this is what helps moving tradition forward,” she admits. She has admired legends, craft couture over the years- Tarun Tahiliani for his drapes, construction and timeless elegance—he’s influenced generations of designers. “Gaurav for pushing the boundaries of couture. His sculptural silhouettes, innovation and ability to blend art with fashion are truly remarkable. And I have to say, Manish’s ‘Maa’ collection left me completely in awe. It reminded all of us how powerful couture can be when vision and execution come together,” she adds. Men are the new adventurous lot and far more involved. They know what they like, they’re experimenting with colour and layering. Comfort is becoming just as important. They’re dressing for themselves, not just the bride, is the subtle difference she has observed. “This ICW there will be more structure, new layering, softer but stronger silhouettes,” she says, adding, heavy doesn’t always mean luxurious. Sometimes less is actually more. “Good tailoring can be just as luxurious as heavy embroidery, so I’d say balance is key.” She has used lighter base fabrics and strategic embroidery placement. It’s about celebrating Indian craftsmanship in a modern way. Looking at heritage through a contemporary lens. Biggest regret? “Not delegating earlier and trying to do everything myself. You build a stronger brand when you build a stronger team. Trends shouldn’t define couture. The best couture becomes an heirloom,” she concludes.
Patola, Kantha and Bandhini, get a new vocab
Whether it is Anshula Kapoor, or Suhana Khan, even Natasha Poonawala, Arpita Mehta dressed them in traditional crafts, with a modern twist. By Asmita Aggarwal “I’m a Gujarati, I grew up around Bandhini and mirror work, it is part of my DNA, most religious occasions at home, we would be dressed up. I saw my aunts, grandmom, mom in saris. I knew I would work with it,” says designer Arpita Mehta, who studied Apparel Manufacture and Dress Design from SNDT University in Mumbai, later interning with Manish Malhotra. The craft gradually found its way into bridal wear, but subtle difference was -it wasn’t done traditional Gujarati multi-coloured, loud way, but a more nuanced look. “I think I learn with every line I make, embroidery I can control in-house, but when you work with artisans you need to work around their deadlines. Real craft takes time-looms are to be worshipped,” she adds, smiling, “No piece will ever be the same wherein lies its beauty.” Two years back Arpita’s journey began working with Bandhani, she wanted to do justice to its appeal, but wanted it watered down. It wasn’t conventional shape-ghagra choli, it was tone-on-tone, single tone, neither did it have Kutchi or kori work. “It had more finesse, smaller bandhans were made, generally it is done on Gajji silk, she transferred it on crepes and georgettes, with cut dana. “I took away the colour and decided to offer pastels. This year she also made her closest friend feel special-Anshula Kapoor, producer Boney Kapoor’s daughter was getting married to a Gujarati screenwriter Rohan Thakkar. She wanted to wear Patola, double ikkat, so embroidery with applique with Patola motifs was her way to pay homage to childhood memories. “The dupatta was naturally-dyed Patola with gold thread embroidery, a tedious piece which took two months to execute. I don’t think I can ever make a piece like this again,” she admits, adding her mom also wore a Patola, but the burst of colour wasn’t to her liking. “For Anshula’s choli-skirt was Bandhani and Banaresi, I wanted to reinterpret it.” In May this year, Arpita decided to dress industrialist wife turned style maven Natasha Poonawala, in conjunction with stylist Rhea Kapoor for a charity ball in New York. “Kantha is a textile which hasn’t been explored in haute couture, so I deducted the drama and made it more versatile. “Couture should be relatable, not intimidating, but unique,” she confirms. ICW 2026 there are lehengas, saris, corsets and pencil skirts—she is big on textile, Bandhini, tissue, kantha combined, the potential is immense. As she moves on to the 16th year in business, she wants to be honest to her vision, go by gut feeling. “It is fun working with self-made brides, they exude confidence, are more organised, and make my job simpler. Unlike the privileged who can’t make up their minds, spoilt for choice,” she adds. Bollywood and social media have been a game changer, “everyone has an opinion, and that POV can also be bought for a price-it is a grey area,” she says, adding it is an additional advantage to be married to a “genius” Kunala Rawal, “we give each other candid feedback.” When she dressed Shah Rukh Khan’s daughter Suhana, in a tissue Muga silk sari, she loved it, “many young actresses may like corsets and gowns, but Suhana, loved the natural silk, ordered one in rose gold, kasab and tissue too.”
“Craft must have a newer design language”
Offbeat materials has been Rimzim Dadu’s calling, even though she has mastered steel, this ICW, she tells us how she got manipulated by mother-of-pearl. By Asmita Aggarwal If you look at Rimzim Dadu’s DP on What’s App, it shows her pre-covid, pre two daughters, gallivanting in Ireland, Burren National Park, “the glaciokarst landscape fascinated me, but now I have no bandwidth to travel” says Dadu. When she began 16 years ago, the idea was to offer wearable pret, not chiffon, georgette, satin, all the things you would associate glamour with. She turned everything on its head-using industrial materials-metal, paper, acrylic, leather, silicon, wool, cording, twisting, shredding, hammering to make them supplicant, mould to her unconventional wishes. Think woven metal saris, silicon Jamdani, steel Patola, paying homage to crafts, in unique ways—whether it was the Lambani tribes of Gujarat or her experiments with mother-of-pearl this ICW 2026. Six years ago, she launched couture, labour intensive, channelling the ideology that technicality is couture, not the price of it. Take for example the leaf motif that has been crafted in metallic cords, hand cut and then sewn on lehengas. She confirms shapes are lighter now, even now despite working with offbeat materials she can never tell how each one will behave-slave or master. “I liked how real mother-of-pearl reflects light, I wanted to explore its potential, challenge myself again, start anew. I didn’t know how to sow it, break it into smaller pieces, buff it to give it shape by hand, each piece. There was no rule book, each collection for me is more about R & D,” she says. Most wonder how to preserve such delicate pieces, the only key is to keep away from moisture and light, she promises each customer, even if one wire goes astray, she will fix it, clean the hand made ensemble on request, to preserve its longevity. “For me it must remain in your wardrobe, as money is invested, from a design perspective I’m not following any trends, so these are one-of-a-kind,” she adds. She never looks at Indian craft as “sacred” rather approachable, it must turn into a conversation starter. Subconsciously she loves how one community has kept the flame of Patola alive. “Whatever I see I absorb like a sponge, like my exposure to mother-of-pearl jewellery, especially how the Nizams wore it with grandeur stayed with me. In Mughal architecture how inlay in marble is done, that technique became my ignition point,” she explains. The mother-of-pearl is made to look like Kundan, jadau, interesting to see in couture. “Thickness, weight, shells are varying how to sort them, as they are natural, has been a learning, with semi-precious stones,” she confirms. Small grids made, created patterns elongated to miniature to give a 3 D feel to placements! “I want my clothes to be clean and minimal, I don’t make exaggerated shapes for runway appeal,” she smiles, adding, “The funny thing about dressing men is they look for approval from their partners, while women know what they want.” Paris Fashion Week is on the cards, but the logistics have been a nightmare, even thinking about it stresses her out, “maybe one day, who doesn’t want to go there?” Will her signature metal weaving, steel cords make a splash this year too? “It’s something I can never give up, like I really admire how Anamika Khanna does her drapes, effortlessly,” she admits. Brides are not driven by brand names, for them craftsmanship matters, social media she believes helps get the story out, “let me tell you something which will give you perspective of the changing landscape of bridal wear. In 2016, when I launched the metallic sari, a bride-to-be said to me ‘I like it, but I will have to check with my mom-in-law if I can wear it to my reception.’ It was an alien looking garment, now brides are not seeking validation, they have done their research, know what they want,” she admits. Her fav-the fringe lehenga she made with metallic cords, in 2020, still her bestselling piece. “I don’t think I have mastered the art of materiality, but yes steel understands me and I can manipulate it,” she concludes with a grin.
Chikankari meets raffia, French knots elevate chattai, Kunal Rawal style
Working with Salman Khan, offbeat casting, designing music, body-cheat garment, magnet stole, sweat-absorbent linings and glow-in-the-dark details, Kunal Rawal believes interpreting Banarasi, Patola, Tangaliya or Chikankari for menswear is engaging. By Asmita Aggarwal He is known to have the most pulsating music on the runway, but few know that after fashion, films, music has always been Kunal Rawal’s biggest loves. His years as a costume designer also shaped the way he works, “I rarely see a garment in isolation. I imagine the room it enters, styling, light, mood and, very importantly, the sound.” He says as he gears up for the India Couture Week 2026. When he began building the brand, he couldn’t find music that carried same energy as clothes: rooted in India, but distinctly contemporary. That became the ignition point for creating own sonic scape, drawing from folk and classical traditions, electronic music, rock-and-roll and unexpected cultural collisions. Vaari Vaarsi, for instance, played with the idea of Punjabi folk through a cowboy lens. “As a menswear-first brand, music also allows us to extend the world of the brand beyond the people we dress. It becomes part of the celebration itself. Seeing tracks like Ishq Mitha become part of real baraats, bride- groom entries, sangeet performances and family celebrations has been incredibly humbling. The sound evolves every year, just as the clothes, and the men wearing them, do,” he adds. He doesn’t think style can be divided neatly by geography anymore. You’ll find a tone-on-tone dresser in Delhi and Mumbai, just as you’ll find men in both cities, who appreciate zardozi, metalwork and intricate craft. The differences often come from the nature of celebration and overall vibe. Delhi weddings tend to unfold across more occasions: musical evenings, carnivals, cocktails and larger celebrations, so the wardrobe naturally becomes broader. The city also has the advantage of winter, which opens up an entirely different conversation around layering, heavier textiles and sharper tailoring. “As a menswear designer living in Mumbai, that is something I genuinely enjoy about dressing Delhi,” he adds. Inventor of the body-cheat garment, magnet stole, sweat-absorbent linings and glow-in-the-dark details, common thread remains comfort for him. A body-cheat garment uses proportion, layering and construction to make the wearer feel more assured without making the engineering visible. The magnet stole came from the same thinking: how do you keep a drape perfectly placed while allowing the groom to move freely through a long celebration? “Our sweat-absorbent linings are another practical response to dressing men in Indian weather. Innovation, for us, is never a gimmick. It has to improve how the garment functions,” he explains. Craft has been an inspiring part of Kunal’s journey. He began as a contemporary menswear designer and fell in love with Indian handwork, but what fascinated him even more was the opportunity to reinterpret it for men. “Today, so many of our crafts are viewed through a womenswear lens. We’re interested in asking what Banarasi, Patola, Tangaliya or Chikankari can become when developed specifically for menswear and India today,” he confides. That often means challenging familiar ideas, even weavers will sometimes ask, “Are you sure?” when we propose a charcoal Banarasi, an olive brocade or tone-on-tone zari instead of contrasting colours. Those conversations are the most exciting part of the process. “We aren’t trying to preserve craft exactly as it exists; we’re trying to give it another chapter, that’s what makes it fun and interesting. Sometimes that means layering Chikankari with raffia, French knots and chattai textures, or washing and reconstructing a weave until it feels entirely new, and sometimes even unrecognizable,” he says. Kunal has always been fascinated by the diversity of Indian cultures and the way different regions dress for celebrations. he would see images of people from different parts of India in their traditional clothing and immediately wonder how those silhouettes could be made relevant to the way we dress now. Sometimes a weave is washed, appliquéd or reconstructed until the craft reveals an entirely different character. The intention is not to disguise tradition, but to discover another way of seeing and experiencing it. Does, he feel Bollywood overshadows fashion? Films and fashion are distinct industries, but their overlap is natural. In India, film, music, fashion and sport collectively shape popular culture. Actors are among the country’s strongest trend drivers, so the exchange between these worlds can be extremely rewarding, he adds. “Our collaboration with Being Human began with Salman Khan’s paintings. Translating that artwork into a menswear line felt more like an art collaboration than a conventional fashion project. We developed stretchable hand embroidery for jersey T-shirts, which was technically challenging and remains a product I’m very proud of. Salman is deeply instinctive and extremely creative; the strength of the project came from working with something so personal to him,” he says. Kunal often features older men and unconventional faces in his campaigns and shows he believes casting has always been about character rather than age or one prescribed idea of beauty. Some of the people are friends, while others are personalities he has discovered along the way. “My friend Vir has been associated with the brand for years because he represents it so naturally. Dhanraj, another close friend, has walked for us several times, and we’ve also had Anaita’s kids Zane and Zreh join our runway. The casting often becomes a family that grows with the brand. We dress men of different ages, builds and personalities, so it is important that the people wearing the clothes reflect that reality. Honestly, whenever I meet someone I find genuinely cool, I usually begin trying to convince them to walk for us. They bring their own life to the clothes,” he adds. Kunal is releasing first brand music film, Rawalgarh Di Jugni, created with Akshay & IP. It brings together folk storytelling, performance, architecture and the energy of the couture. “I’m still an all-black person, so my wardrobe doesn’t change that often. Apart from my brand, I feel most comfortable in Rick Owens, and equally comfortable in H&M. In fact, that is almost exactly what I’m
Flowers of empowerment
Women from marginalized jhuggis, craft lace pearl flowers for Isha Jajodia’s ICW line, as she offers clay embroidery, metal corsets and lace applique for a quieter, more self-assured bride. By Asmita Aggarwal She is known for delicate laces, her outfit for the Cannes red carpet was a hit, the 1100 hours of handwork showcased India’s prowess in gossamer embroideries. It was an invitation by Caroline Scheufele, co-President and Artistic Director of Chopard, which Isha Jajodia initially ignored, but later took it as a challenge to put our country’s artisans on the world map. “I’m minimalistic, I wanted to keep lace as the hero, it was a technically heavy gown, styled with a pear-shaped diamond necklace by Chopard. From antique-inspired lacework, tulle, organza, applique, corsetry, and controlled volume it channelled my inner spirit,” she adds, admitting faux feathers added extra appeal. The idea was to depict softness and strength, opposing qualities a woman holds in her heart, as there are layers of responsibility she shoulders, showcasing the depth of her persona. We aren’t just talking about the affluent, but Isha really looked at those who are living on the fringes of society like Daya Bai from Moti Lal Nehru Jhuggi clusters. Daya, 34, works with the NGO Spread the smile, and has made beautiful hand done lace flowers, 100 of them for Isha’s sculpted gowns, “It took me four hours to make one, Isha’s didi’s team came and taught us,” she says, she got both paid and adulation for her hand work. Daya has two kids, daughter, 13, son, 9, she wants to educate them, girl doctor, as healthcare systems are not poor oriented, and the other a lawyer. “So many hardships I’ve faced, I don’t want my kids to suffer. I work in the NGO for two hours daily, I embroider, they are helping my kids. From education, school uniforms, books, shoes, they give us,” she explains. There are almost 100 women like her working in the basti, they make tissue boxes to thali covers. Along with her works Ratnesh, 38, who stays at the Shamshan Bhoomi jhuggi cluster, has two boys, aged 14 and 10, she doesn’t even have access to a toilet or clean water, she often has to stand in a line for basic necessities. “We come to the NGO, they give us work, we learn and make net flowers, cut, finish, embellish it with pearls. “I’ve been working here for the last 5 years, learning crochet, I’m from Uttar Pradesh, Etah where women do a long ghoonghat and are segregated from men,” she adds. “I feel fashion must also look at those who are invisible, thus the idea of the NGO came about,” adds Isha who admits she is not what she was in 2014 when she began. “We did denim with strong embellishment, but I fell in love with lace, especially those with European appeal, as they say then there was no looking back,” she explains. She was shocked to know that many brides, who handle heavy lehengas on their D-day, wear numbing cream so that they can’t feel the pain. Isha decided no can cans or anything big or unsettling for the bride. “Sheer, lace, fluid, soft embellishments became my language, multiple layers of lace. It’s a story told in tulle, minus any trends, ideal for a self-assured woman,” she adds. The palette is ivory, scarlet red, blush pinks and even though the belief is that sculpting isn’t for bigger women—Isha believes she gets 50 per cent women who are sumptuous. “It is tough to embroider lace as the hole is smaller. But this time, we have pushed ourselves—working with clay. It is paper light, we have crafted petals, florals in it as embellishment; surprise is also tweed with lace,” she adds. Metal corsets, with pearls, Chikankari in whispers of aqua, have been a challenge to source lace—Korea, China, Paris, Surat and Hong Kong, to this she adds Baroque influences, placing them as artworks.
In pursuit of happiness: Masaba
“Chadti Kala”, optimism in gloomy times, Masaba brings unabashed colour, bold Mughal zari motifs for a bride who has a sense of humour, can laugh at herself in a pineapple-shaped bustier. By Asmita Aggarwal She comes from an interesting mixed parentage- Punjabi mother Neena Gupta who grew up among the chaotic sounds and sights of old Delhi and West Indian (Caribbean) cricketer Vivian Richards. Thus, Masaba is unafraid to admit she loves to work with gold, as much as tourmalines— it exudes character, she believes. Masaba is not new to the spotlight, in 2021, she starred in Sabyasachi Mukherjee’s bridal campaign, even though she debuted at Lakmé Fashion Week in 2009, at the age of 19. There is a certain irreverence in her prints—Nandi bull, celestial motifs, Hamsa hand, which she considers a symbol of protection, old cameras, Tamil script to pineapples, even toffees. Her most popular foray has been beauty “Lovechild Masaba”, paying homage to her mom’s intrepid choices. Interestingly, ‘i’ in Lovechild is the red bindi from Saans, a 90s show by Neena Gupta. It was a revolutionary script talking about women empowerment. On the contrary there are also bold red dots that run through her entire offerings, or the Taj Mahal on bags, love is a recurring theme in her repertoire, but also looking at it rather playfully. She has had various experiments with fashion, whether it was handling Wendel Rodericks label or innovations with choli (Neena her mom also starred in the chart-topper “Choli ke peeche kya hai” with the inimitable Madhuri Dixit) or badla, peeta and nakshi. If you look closely, she has a distinct sense of humour with slogan tees “Thak gayi”, or monikers he gives her jewellery-‘Palm Panna’, ‘Kala Tikka’, ‘Two-Faced’ or ‘Icy Kinara’, the palm motif inspired by her mother who is a consistent inspiration, even in her Netflix series “Masaba Masaba”. Her patchwork lehengas to kalidar lehengas, imagery is rooted in humble street metaphors, much like Manish Arora’s label Fish Fry. This ICW finally we saw what the catwalk deserves-a model who paved the way for Indian fashion in the 90s- Madhu Sapre in unabashed flaming red. “The gloom in the world made me want to introduce happy colours for optimism,” says Masaba as she continues her love affair with crushed gotta mixed with military accents. Drama ensued with long, sweeping coats, big bags with Hamsa, a palm-shaped amulet for protection, power, and blessings, Arabic word meaning “five”, representing fingers of the hand. Stacked gold jewellery, mom Neena Gupta in full support, anklets worn over churidars, gossamer organza kurtas and ubiquitous dhotis. The ramp came with red rotating heads, with rose garlands, probably her most loved hue for brides, in some ways ceremonial, dressing in layered skirts, balloon pants with placement embroidery, lehengas with zardosi gilets. The irreverence stayed with pineapple and palm-shaped bustiers, harem pants showing up everywhere, mini bags fastened on waists, India’s jewelled map on black casual tees, beads hanging from sequinned tees, Mughal paintings as head bands paraded on Punjabi hit numbers Kala Shah Kala. The Punjabi suits are seeing a homecoming, as sindoor comes smeared on foreheads, bejewelled blouses, Surrealist embroidery, kaleras and Himachali caps getting an embroidered avatar with aari work and Masaba’s ultra bold motifs.
Emotion in aged couture is true luxury: Valaya
34 years later Valaya misses Bal and his effortless poetry, at ICW his embroideries are more textural than overtly decorative, silhouettes carry quieter confidence; bride should feel elegant, not exhausted with the weight of embroideries. By Asmita Aggarwal If you ask J J Valaya the one thing he misses about fashion today his immediate response is–Rohit Bal. “Rohit possessed one of the most instinctive artistic minds our industry has seen. There was effortless poetry to his work that couldn’t really be taught. I remember several conversations over the years where we’d laugh about the madness of putting together shows under impossible deadlines. Despite the pressures and inevitable rivalry that exists in fashion, there was always mutual respect. His absence has left a genuine void in Indian fashion,” says Valaya. The designer who completes his 34 th year in fashion this season has never shied away from expressing love for the East, Balkans and Ottoman empire to Silk Route. He attributes this to being a “Royal nomad” place where ideas, architecture, textiles and people constantly borrowed from one another. “I don’t travel looking for fashion. I travel looking for stories. Fashion simply becomes my way of retelling them,” he adds. The paisley is a recurring leitmotif in his repertoire, like signature Chevron, former is a rare motif that belongs to almost every civilisation that touched the East. It has history, movement and poetry within a single form. Chevron, on the other hand, represents structure, rhythm and geometry. One is organic; the other architectural. “Together they’ve almost become two languages through which I tell the Valaya story,” he explains. With each designer bringing his magic to couture it almost becomes an emotion, a feeling, nostalgia, also a mood. Couture for Valaya becomes part of life’s milestones … a wedding, an heirloom, a memory that travels across generations. Long after the fabric has aged, what remains is the emotion attached to it. “That, to me, is the true luxury,” he says. Valaya recently launched a line of bags, being an Army kid, he named one after his parents, he admits, he learnt discipline from his father, grace from mother. “My father taught me that excellence isn’t accidental; it’s built through consistency, there are no shortcuts to hard work. My mother showed me that kindness and dignity never go out of fashion, whilst exposing me to the art of embroidery through her teaching embroidery to soldiers’ wives at army welfare. Between the two, I probably learnt that talent may open doors, but character determines how long you remain inside,” he explains. Couture is made to last, repaired instead of discarded, preserved instead of consumed, garments often become heirlooms rather than seasonal purchases. Valaya has consciously explored upcycling and responsible craftsmanship, including collections like “The Living Loom”, where waste textiles were reimagined into couture or working closely with Tencel. “Moreover, sustainability isn’t only about materials. It’s also about creating something that deserves to exist for decades,” he adds. It is the era of intelligent luxury –it doesn’t shout or try too hard. It’s thoughtful in design, respectful of craftsmanship, timeless in appeal and relevant beyond trends. It understands quality, proportion, restraint and purpose. “When every detail has a reason to exist, that’s intelligent luxury,” he explains. Valaya’s first major show in India was in 1992, the year the label was born. Even then, he wasn’t interested in following trends. He was fascinated by India’s forgotten aristocratic elegance … its travellers, its royal houses, its layered history. The collection reflected that fascination through richly detailed garments, handcrafted textiles and a storytelling approach that would eventually become synonymous with the brand. “In hindsight, I wasn’t launching a collection. I was introducing a point of view…. My point of view,” he adds. In Tarun Tahiliani, Valaya admires his understanding of drape, construction and contemporary Indian occasion wear is exceptional. Anamika Khanna redefined Indian silhouettes with the kind of ease that she has. Abu Jani & Sandeep Khosla are Masters of drama and scale. Their commitment to unapologetic opulence has created an unmistakable visual language. “Ritu Kumar is a true pioneer. She preserved and celebrated Indian textile traditions long before heritage became fashionable,” he adds. What’s interesting is the groom who is finally participating in fashion rather than merely accompanying the bride. He’s willing to experiment with colour, jewellery, layered dressing, textiles and embroidery without feeling constrained by old definitions of masculinity. “That’s incredibly liberating as a designer because you can now tell a richer story through menswear,” he says. In ICW 2026, for Valaya every collection begins with a story rather than a trend. This season, he has explored proportion, layering and surface treatment, colour palette has become more nuanced, the embroideries more textural than overtly decorative, and silhouettes carry a quieter confidence. “The intention wasn’t to become different for the sake of surprise. For me, it’s always about meaningful and gentle evolution without losing identity,” he adds. Indians are obsessed with embroidery as it became synonymous with value, it is often measured luxury by weight rather than design. “I think that’s changing. Today’s client increasingly appreciates cut, proportion, fabric, finishing and the story behind the craftsmanship … beyond embroidery alone. Embroidery remains beautiful… but only when it serves the garment rather than overwhelms it,” he adds. Interestingly, weight isn’t only about reducing embroidery. It’s about engineering. Valaya rethinks fabrics, foundations, construction techniques, embroidery placement and distribution of weight across the garment. “The objective is simple: a bride should feel elegant, not exhausted. If we’ve done our job well, she forgets she’s wearing couture,” he grins. The real Valaya is quiet, private. He is happiest with a camera in his hand, travelling somewhere unfamiliar, discovering history at antique and flea markets, or simply observing people and architecture whilst wandering and sipping coffees. “I don’t think I ever really stop being curious. Even when I’m not designing, I’m collecting ideas without realising it,” he confirms. His parting shot, “Separate the designer from the businessman. Many brilliant designers fail because the business fails … not