From Fatehpur to Europe: Radhesh
Imagine a shawl as soft as silk, but made from butchery waste, creating both livelihood for tribal women and circularity. From winning patents for his technology, to making wood free paper, Radhesh is a maverick hoping to create a new landscape of style, as a CDC finalist. By Asmita Aggarwal He has won a patent for his revolutionary technology where waste fowl feathers are sanitised and recycled into fibre, using natural ingredients. Radhesh Agrahari started Golden Feathers, his company with 20 women in 2019, today he has 1200 tribal women earning and running their homes. The chicken feathers are light, feels like silk. Growing up in Fatehpur, with zero exposure to fashion, dad was a government officer, he decided to go to NIFT Mohali, then won a gold medal at the Indian Institute of Craft and Design. “I realised there are many more professions than just doctors and engineers,” he laughs. “I come from a small town known for Bawani Nimli, 52 people were hanged by Britishers in 1858. On one side we have Ganga on the other Yamuna, nothing amazing. We lived a simple life, back then, like a tier 2/3 city,” says Radhesh. His work with Tribes India, as a purchase officer, for nine years exposed him to various craft villages, travelling to Baran, Asnawar, no roads, brick lanes where he discovered the most stunning hand work. “We had to buy artisanal products for 160 showrooms all over India, the exposure was enormous. I worked with the Bheel and Garasia tribe, who were traditionally tendu leaf pluckers, exploited by middlemen, earning Rs 80 per day. They started working with us and at home earned much more, creating a value chain system. The idea is not to make money but offer something sustainable to them,” he adds. Today Google and Morgan-Chase are his clients with 70 per cent exports and 30 per cent sales in India (Rs 6,000 for a stole), creating the best alternative to synthetic fibres. He has seen the power in looms, they can weave only 56 metres, but in handlooms women can go up to 60 metres. “I got my break on Shark Tank, we were offered Rs 700 crore for our patent, we never took it. We followed the Lajjat papad model, where raw material is given, and you can make things at home; at G 20 we won the top 8 startups award,” he says, adding machines must be semi-automatic, but tribal women must be involved. His tagline is “where style meets sustainability.” His next big project is wood free paper, and goal is to provide education, livelihood, and circularity to the marginalised. “Food waste like fowl feathers is the third most dangerous thing in the world, feathers create toxicity, and especially when it gets mixed in water. We process it in 27 steps laboriously and craft ultra fine stoles, shawls, mufflers, and can last up to minus 20 degrees. Only his company has a patent for fowl feathers. We have revived Indian crafts, wet spinning, and of course butchery waste which no one was using, lowering carbon emissions. We set up units in Pune, Rajasthan, and Jhalawar,” he adds. The feather-silk is crafted into fabric, keeps you warm in winters and cool in summers, and does not need to be dyed, as it is naturally off white in colour. “My target is not just India, it is the cold countries where winter is almost 8 months long, and they long for natural fibres. We are exporting to almost 11 countries in the world as well as Europe,” he admits. His journey started with showcasing in Dilli Haat and Dastakar, he made almost 386 products including hand made paper, but still faces several challenges like not allowing pickup of waste feathers, even though it emanates sulphur and methane gases which are extremely harmful for the environment and human beings, he concludes.
Meet next supermodels –Sky and Ava
Nainika and Gauri’s daughters, give the catwalk some serious twirls, while Satya Paul announces Bollywood dreamboat Aditi Rao Hydari as their creative collaborator. By Asmita Aggarwal What happens when you have a live DJ, some moon, stars, and sun, mingling with the philosophy of “Papa don’t preach”. Well Shubhika knows young women, like quirky pink lehengas, she also believes dressing need not be about zardozi or kantha, but irreverent bags that come with pearl handles and sun shaped minaudieres. LFW X FDCI shows saw an influx of small dreamboats-including Nayanika’s daughter, as their tie up with Mothercare was surprising. Associated with red carpet, extravagant dressing, Priyanka Chopra in their backless neoprene number, it was a sea change from black gowns paraded with veils, and five-year-olds, in their floral full skirts beginning the show. Balloon and classic Balenciaga style envelope dresses, their signature big bows, polka dots, bunched up skirts channelled the spirit of the swinging 70s. Volume was their thing with tiered dresses in pleasing monochromes, European corsetry, a bit like what Scarlett O’hara wore in “Gone with the Wind”. Exaggerated and pixelated flowers on charcoal gowns, ruffled, and tiered, they decided to get Ava (Gauri) and Sky (Nainika) their daughters’ debut on runway. “We wanted to make clothes that sell—be glam, and introduce Princess dresses for girls (range for 3 to 6 years, some velvet suits for boys as well as bow ties). There is a book we used to read to our daughters–Kate and the Spanish Princess by James Mayhew, the whole show was inspired by this,” says Nainika. If you saw the Panniers or side hoops that they included it takes you back to the 17th and 18th centuries, a technique used to extend the width of the skirts. “Sky my daughter used to love the book, how the main character becomes part of a painting and gets to dress like a princess. We never made clothes for our daughters, though they saw us work all these 20 years. This was one opportunity to do so with Mothercare, it is a year-long collaboration, we have done 30 styles,” she adds. They used Mikado silk, tulle, printed luxe Duchess satin, using boning, bustle, and crinolines, very Marie Antionette styles. The empire cuts and tulip shapes were exaggerated, high lows used, in pure silk and chiffons, they abandoned polyester. “The prints were dark and moody, like an Albert Fernand-Renault painting or a Caravaggio, like an oil on canvas, with big roses,” she adds, admitting they didn’t name the collection, feeling it should be interpreted by the viewer in his own way. Satya Paul is undoubtedly a legacy brand, which understood that an Indian woman no matter how many gowns she wears, or aspires to buy will always wear saris. Almost 70 percent of our population thrives on it. Puneet Nanda and his father Satya Paul started this amazing journey in the 90s, with Genesis Luxury and till today their prints have been their showstoppers. David Abraham and Rakesh Thakore, creative directors of the brand, began with parrot green shoes, draped cowl saris, with bold flowers. And, of course hints of shimmer as their contrasts were engaging —deep blues worn with black and white stripes. From graphic to abstract prints saris worn as neck scarves, not pallas, one shoulder gowns in baby pinks, accompanied by long coats, sometimes knotted at the waist, they got circles, and dots printed as waists were cinched with leather belts. What is new is Bollywood beauty from Hyderabad, Aditi Rao Hydari, as their creative collaborator. “I am so excited, in fact thrilled to be a part of this. It is great to think creatively, play with fabrics, constantly come up with ideas, it is part of my DNA, part of who I am. Satya Paul is for women who own their femininity, it celebrates authenticity. It is a brand that is evolving like women do. I’m dreaming many, many dreams,” says Hydari.
Shibori, leheriya gets “imperfect”
PR exercise is not always fruitful, as brands are not built on celeb dressing, but unique ideology, says Amit Hansraj of Inca. By Asmita Aggarwal “If Sonam Kapoor wears your label doesn’t mean you have arrived”, his point of view is refreshing, maybe because after 20 years in the business of fashion, he realized what really holds value. Amit Hansraj launched Inca, knowing the struggles of young brands, they get trapped in PR exercises, “make this celeb wear our outfit, send free clothes to this TV star” but this is not how brands are built according to him. In 2000 he started supplying to stores like Ogaan and Ensemble, though he had worked with Ritu Beri for six years, Amit Aggarwal too, decided he didn’t want to be an “Instagram genius”. “People who consume fashion are not scrolling Insta, influencers who ask you for clothes will never come and buy your outfits. You are basically not gaining anything by listening to PR demands. Rather relationship building works, a woman who is running a business will not be wasting time on social media. She will need clothes, and will come if you offer her quality,” he adds. Interestingly, he admits, Inca his brand is an exercise in “self-indulgence”, he does one size clothing, this time he added a bit of structure. “I love reversible things, like my jackets, traditional Leheriya got new colours, broke the lines, added vintage textiles, mixed it up. Then we added animal prints with hand blocks, which added depth. I do not like flat clothing,” he adds. His show had 90s supermodels—Carol, Indrani, Nyonika, Sheetal, all the beautiful women he wanted to dress when he began his career, today he got that opportunity. He is clear he does not want to put craft on a pedestal, but make it a day-to-day outfit, not something like your mom’s Banarasi sari lying buried in her cupboard. “Let me tell you something, craft clusters have been monopolized by big designers, they don’t entertain smaller designers. They want to work exclusively with them, all year round, there are many hidden challenges for young brands,” he confesses. Amit decided to do Kantha and Shibori his own way, with untrained women. “I love imperfection. I know many who digitally print Shibori, which I feel is reprehensible,” he adds. He does not want his clothes to look “crafty” this year, to accentuate his look, he began experiments with brass jewellery, made an exaggerated version with doris which he tie-dyed. “Used raffia, it is sturdy, as I didn’t want to use feathers, we revved up our jackets, it was the third element,” he adds. A big believer in “authenticity always works”, even though his Shibori is “made my own way, it looks real to me,” he explains. Dots, cutting in semi circles, is what fascinates him, especially what Carol Gracis wore. It is not size specific, cut on a bias, and takes the shape of the wearer’s body. “I am a textile addict, so Chanderi, linen and silk, organza is what works for me,” he says. After 40 years he admits, he knew his aesthetics even though it is an evolutionary process, “I followed what came naturally to me. Who knows maybe I will do bridal one day, like I dabbled in home and accessories,” he concludes.
Sari dress anyone?
The opening show of the LFW X FDCI by Anavila Mishra and Gaurav Jai Gupta along with in house designers from The Kunj displayed the prowess of the sari, which is now not restricted by pleats and palla but has found a new disposition—jackets, Obi belts and knots. By Asmita Aggarwal Imagine being surrounded by art, culture and heritage, at the first glance at the roof of The Kunj, by the Ministry of Textiles, you are smitten by saris Ikkat, Pathani, Kota Dorias, Mekhla Chaddars, Narayan Peths, Sambalpuri to Maheshwaris, draped in Origami, by the inimitable Ankon Mitra, as you glance up. The waft of mogras on your wrist, and the cobbled ramp complete with wicker flowers, could there be a more befitting opening for the FDCI X LFW? After all, India is a nation known for its hand work, intricacy, and design thinking. The carved wooden pillars Chettinad style strike you, with their austerity on all three floors. Though everyone’s favourite undoubtedly was Suhail Bhan a Kashmiri Pandit, who has been perfecting the art of Bharatnatyam, setting the flow with his dexterous presentation. “I started learning dance when I was 12, learning from Justin, an American! I practise two hours daily, and teach also. Some are surprised to see men dancing, but they look so beautiful, it is an altogether different energy. Today there was more improvisation, as we danced for 20 minutes. Dance is about grace, control, and expressions, as well as how you involve the audience in your journey. I sing also, learnt for a year, it helps in dance,” says Suhail. Live music by classical singer Deveshi Sahgal began the opening show by Anavila Mishra, muslins and her unabashed love for whites. But what’s new is the sari is no longer being worn with palla and pleats, but jackets. “Sarmast”, references the Deccan, from the state of Wajd, thus the ode to handwoven linen, but it was a joy to see the Kerala Kasavu sari rubbed shoulders with pant suits on the notes of Aaoge Jab Tum by the inimitable Ustad Rashid Khan, an eternal fav. Saris came with Obi belts, trench coats, roomy Japanese jackets, telling us there are many ways to wear them. Blush pink looks fab in handloom cotton, as Kimono-style jackets revved up saris, lace bows in the hair completed the look. The show had “The Edit” by seven in-house designers of The Kunj curated by DC Handlooms Amrit Raj. “The look that we presented was entirely woven from waste like all our products, we showed styles on a male model, but all four garments are unisex. The kurta is a kurta dress, then a two-way top, jacket was reversible. The Kunj has been a great place for us to meet customers, and design for them accordingly, generating this level of work with artisans. We upcycle other people’s waste, this is my first experiment with B 2 C, it’ll help develop a deeper relationship with the customer,” says Bhavya Goenka of the label Iro Iro. Pedal looms we have used, natural dyes, extra weft technique to weave waste, Rohingya refugees have embroidered on linen. Interestingly, the belt has arrived and so has the long jacket, the broader the better, the Kutchi mirror work jackets, Ikkats in maroons, traditional saris draped almost sinuously around the body, pleats misplaced and palla disappearing, gave a peek into how innovatively the sari has metamorphosed.
I am greedy for crafts: Valaya
Army mom, Rajasthani crafts, travel and love for the East, forms the basis of Valaya’s ICW line replete with motifs of the Balkans to his ideology –a “royal nomad”. By Asmitaa Aggaarwal J J Valaya was born in Rajasthan, Jodhpur, a fauji kid who travelled all over the country Lucknow, Chandigarh, Pune, to Delhi and from here comes the spirit of travel, as well as exposure to multitude of cultures, living in different parts of country understanding artisanal forms that exists there. “My mom was an army wife, used to handle ladies’ welfare at the army cantonment where they teach embroideries-cross stitch, shadow work to smocking, which I imbibed along the way. All that seeps in, I believe in the power of creativity, it paves the way, defines the path of your life,” says Valaya. It has been 33 years, 35 if you count his education in NIFT, this is why he asserts, fashion is a fab career option, only if you have passion for it, as you are put on test every six months. “You must put blinkers on like a race horse, keep moving. Focus on what you are good at and focus on that, you can’t rest on your laurels. Be aware of what is going on in the world, don’t lose focus, don’t waste too much time on networking. Put in a lot of effort, work hard to hone your skill, make it the best,” he advises young designers. This is no hard and fast rule, he believes in “less is more” or “more is less”. Every designer can support both and believe in either ideology, maximalism vs minimalism both have advantages. India is a land of maximalism, foods are complex, we are a continent not a country, everything changes in our country from our festivals to our dresses. “No simplicity in Diwali or holi we are extravagant – architecture, carvings on rocks and stones, making masterpieces. Indians are not averse to embellishments, it is our greatest treasure—some use it to flourish with just a beautiful garment, some would create an entirely embellished masterpiece to go into a museum-highly subjective our love for shine, he believes. “It all depends on our design language. We love to celebrate—weddings are grand, we consume couture with fervour,” he adds. People should believe in their country more, focus on quality, Valaya doesn’t have gora hangover, feeding to the whims of the West, nor do we try to appease them. “Unless we get accepted in the West we don’t arrive, we feed on that ideology. We can’t be farther from the truth, India will be the prime market for everything in the next ten years,” he explains. His philosophy is to simply believe in my country, make indigenous fashion statements as brides are consuming couture, like they rush to buy bags and jewellery. Why not buy beautiful clothes? “Couture in India is linked to weddings, some women buy embroidered jackets, to feel happy,” he says. Any good brand in the world will be evolutionary in nature—is true benchmark of a brand which believes in its ethos and grows within that. It means you are aware of trends, you don’t blindly follow them, because luxury, to be called luxe, needs a high degree of timelessness. It is an investment, buying masterpieces, not clothes, you want them to last, pass them down to generations, that’s what couture is, he adds. The collection for ICW 2025 “East” and it’s his journey into this hemisphere….he is going back in time, 18th century when the West used to look at East with wonder. “It was a mysterious land full of stories —amazing cultures, artisans, crafts. So we wandered from the Balkans into the far East and finally settled in India,” says Valaya. When it comes to crafts, he is greedy, doesn’t cultivate favourites, he believes there is so much to explore in this country, it will take a lifetime. Any Indian designer must rediscover hidden crafts, and reinterpret for the current generation. Exactly what I am doing, innovate every year, push limits of excellence when it comes to workmanship, detailing and prints we sneak in. We don’t believe in extreme change every year. It has to be evolution. There is a distinct DNA of the brand that’s why customers come to us,” he adds. The bride is well travelled, the internet has brought everything close to us, she is intelligent, aware of what’s going on, all these factors make her better informed than brides of the past. “Being a classist, I want to create masterpieces she can truly enjoy, cherish, make her feel good, look good, give her pieces she knows can be worn again. I do not like gimmickry, I do not want to shock, I want to awe, but with a degree of craftsmanship, and artisanal quality in the garment. All the initial sketches are always done by Valaya himself; every sketch that’s made is fine-tuned by me. “Couture demands that attention, I really enjoy what I do. Gen Z and Gen Alpha are in another mind space, we are mere observers, from a distance see what’s happening and adapt to what’s going on. Tradition plays such a large part of Indian couture, there won’t be any radical changes happening, but mindset is changing-GenZ wants things to be experimental,” he adds. It is a very intelligent generation, they know exactly what they want. They realise, anything good has value and they are willing to pay for it, “so I think after 35 years I have learnt how to adapt to this generation,” he explains. Being a stylist, photographer, designer, a multifaceted person, “the royal nomad with a panache for art deco”, is an apt tagline. “It applies to me, as I love what I do, 33 years down the line I am still as excited about every show, every collection, every brand campaign that we do, photography is my alter ego at play, great leveler. We also do home interiors-carpets, love designing furniture, very fortunate to
I was a rebel, out to prove a point: Rimzim
Age and time have taught Rimzim Dadu the importance of merging commerce with fantasy, this year her Banjara tribal jewellery inspired chainmail dress took one month to execute, just like her rejigged sari not swathed in metres of fabric-happily crisp. By Asmitaa Aggaarwal Once upon a time Rimzim Dadu’s steel saris were looked upon as an anomaly, but that was almost 18 years ago, when lehengas were red, zardozi weighed them down. As fashion and the audience has evolved, Dadu calls herself a “rebel, out to prove a point”. At 21, she didn’t care about commerce, though today she realises it takes a lot of maturity to finally run a business. “I think I have found a sweet spot to do what I want to, discovering my own voice, and an audience that accepts my aesthetic,” she adds. Instagram, she feels, has really evolved the public perception of style, though the intelligentsia may despise it, it isn’t frivolous. If anyone follows me they know exactly what’s new, what I am thinking, it is now a democratic process nondependent on traditional media,” she adds. Indian fashion is now looked upon with respect, also curiosity, we are no longer a manufacturing hub, crafts and artisans are the showstoppers, but there is room for many India stories. “There is India traditional, modern, and futuristic. Our traditional weave had been heavily dependent on motifs and embellishment, so what’s wrong with shine? I don’t find it repulsive. Even if you look at Jamdani it is white, but the motifs on it give it that unique character,” she admits. Dadu is experimental, develops new textiles, drawing boards, and karigars envision how to upcycle what is traditionally looked at as waste. “Sometimes it takes ten failed attempts to get things right,” she says, adding, “We start again if we feel it is not going how we planned.” The language of bridal couture has altered enormously; steel saris earlier brides would ask if they could check with their mom-in-law, before buying, now they are the decision makers. Cliché is out; everyone wants to look bolder. “Couture now has elevated craftsmanship, it is a vision, our metallic jewel tones, and a whole new section of gunmetal grey this season is a big risk I have taken. Even though I don’t like to work on set themes,” she says. Her inspiration this year has been Banjara tribes and their vivacious jewellery, Dadu has done Patola in the past, this year she has fallen in love with Bandhani, the knots, used as an embellishment rather than in whole. “For me fashion is art, so the skirt that we made with metal and steel interlinked inspired by tribal jewellery, a chainmail structure, took one month to make after several failures, just one piece,” she smiles. Though Dadu is a woman of finer tastes—she wants to do things other than clothing—maybe lights, textiles, sculpture. “Though what helps is switching off and living in my bubble,” she grins. That’s why her new “streamlined” lehenga (not using 20 but 2 metres of fabric) or playing with a new way of draping “palla”, after detailed R & D is what ICW 2025 saw. Cording, steel wires, in sherwanis, bandhgalas, bomber jackets, it has been a journey of following her passion, even as the new mother Dadu finds “solace” when she works relentlessly to create stand out pieces.
Upcycled Shimmer
Hyderabad has emerged as a competition to Delhi-Mumbai for couture, even though the lawyer turned designer believes going green can be possible in couture! By Asmitaa Aggaarwal She is a lawyer, who always had an interest in environmental law, and decided to mix her two passions –legal eye with fashion. Upcycling, applique to molten metallics, Aisha Rao, from NUJS (law) to studying in Barcelona Istituto Europeo di Design, IED and then garment construction at Parsons New York, she knew her heart was in making clothes that bring out the vibrancy of India, its unabashed celebrations. Showcasing her line “Wild at heart” at the ICW for the first time, she has said ‘no’ to plastics for a long time, and was in fact debating whether she really wants to work in fashion, known to be the most polluting industry in the world. “Whenever you cut a bias skirt, there was a lot of waste generated, along with this was when we used sequins, bugle beads, bullions on the ‘khaat’. We wanted to find a way to use both these and we did, by upcycling them. I wanted to make a viable business, but reduce carbon footprints,” says Aisha. And of course, a degree in law always helps—specially when recently Bloomingdales sent her a contract she was able to maneuver dexterously. “Brides don’t understand the concept of waste, all they want is to look pristine,” she laughs. Mother of two kids, Aisha often finds inspiration in their stories, like Roald Dahl’s Matilda to Paper dolls, though Indian couture is enjoying the spotlight, with China slowing down–Ambani wedding, Prada introduced Italian version of Kolhapuris, LV embroidered bags. Sabyasachi Mukherjee has stated, he would like his jewellery to not be locked up but worn on linens and skirts. Plus, couture is now functional, not just about heavy lehenga cholis. “We are doing dresses you can wear at your friend’s wedding, the crystal one-piece blouse can be teamed up with palazzos, traditional peacock motifs top this is now your companion to a date night draped skirt,” she says. Couture was earlier reserved for the OGs, very tough for young people to break in, it is also manpower heavy and super expensive, till now Delhi, Mumbai and Kolkata were hubs the South largely ignored. Two designers have broken the glass ceiling and given Hyderabad, a great representation—Jayanti Reddy and Aisha Rao. “I have always loved the Banarasi weave, this year also it finds a representation, in my collections, pure gold zari saris in Kanchipuram. Girls have a mind of their own, they will wear a tiny beach blouse, but mom-in-law still prefers classic woven sari,” she laughs. Her kasavu tissue saree, zari with satins, have done well, for cocktails, to white weddings. “We did sequins overload in the Barcelona line, as an ode to Antoni Gaudi, the acclaimed Spanish architect, I’ve always wanted to tell a story,” she affirms. This season Aisha offers jackets with bustiers inside, a sweater shape you can add over your lehenga, with a smattering of aari work and zardozi. “I’m sitting in Hyderabad, so Bollywood is tough to crack for me, though what celebs wear is aspirational, gets instant results, when a lehenga sells in volumes, it is good for business,” she says. From palms, peacock colours, chintz, maximal flora, lush teak berry, there is a little bit of Aisha in each piece she crafts, “of coursen o lehenga comes within a pocket as that was my pain point at my own celebrations,” she concludes.
Bihar to custodian of Bal’s legacy
Tasnim Fraze, creative director Rohit Bal, brings garden of flowers from Kashmir in Matka silks and poetic khadi for ICW 2025. By Asmitaa Aggarwal It is quite a larger-than-life legacy of the iconic Rohit Bal to carry on his nimble shoulders but Tasnim Fraze, believes, “It’s an honour and a deeply personal responsibility. Everything he created came from a place of love — for Indian craft, the beauty of Kashmir, and the people who bring that beauty to life. I had the privilege of learning and growing under his guidance for over a decade. As Creative Director, my role now is to protect what he built and let it grow, with the hope that everything we create reflects the integrity and grace he always stood for.” His journey with Rohit Bal began in 2013, just after he graduated from design school Symbiosis International University, he began as a young designer in his team and over time, got the chance to be involved in more — from design to the business side of things. “Rohit Bal always valued growth and believed in continuous learning. He encouraged me to pursue further education, which led me to do my MBA at IIM Ahmedabad. That experience helped me understand how to balance creativity with business decisions. But the real learning came from working with him — being in the atelier, working with artisans, and watching how an idea would turn into something special in his hands,” he adds. The FDCI ICW collection called Kash-gul, draws inspiration from the landscape and poetry of Kashmir — especially from Gulistan, which means the “garden of flowers”. This collection connects with shared memory, craft, and tradition. “We’ve worked closely with artisans to preserve techniques that have been passed down over generations. We’ve used fabrics like Matka silk and velvet, with thread work and gold zardozi that add richness and depth. The motifs — peacock, lotus, and rose — were signature elements in Rohit Bal’s work, and they continue in this collection. What I have tried to retain is his sense of elegance and the quiet drama that made his work timeless,” he explains. Tasnim grew up in Bihar, grew up surrounded by culture, stories, and art. Bihar is also the land of hand-woven matka silk, and khadi was a part of daily life. “Being around these kinds of fabrics from a young age naturally drew me toward textiles and eventually, into fashion. Fashion became more serious for me during design school. And everything truly came together when I started working with Rohit Bal,” he confirms. Couture today is about meaning, he believes. Brides are looking for pieces that reflect who they are — not just garments that are heavy or ornate. “There’s a clear shift toward personal connection, craftsmanship, and quiet elegance,” he adds. For the festive season, what always works is a garment that feels intentional — something with clean construction, beautiful fabric, and quiet presence. When it’s made with care and worn with confidence, it never fails to leave an impression!
Choli out, sharara-peplum blouse in: Jayanti Reddy
Banarasi weave interpretation is loved by South brides, for Jayanti Reddy Hyderabad has become a nerve center for couture. By Asmitaa Aggaarwal She comes from the city of pearls, and Hyderabadi elegance, known for her love for Birdi craft that she resuscitated, but in the last 13 years in fashion Jayanti Reddy, may have studied business in US, but at heart she knows couture is her first love. “I was doing one off pieces, heavily embellished for a select clientele, we mixed interesting shapes with comfort. Though the focus has been jewel tones and pastels, with a smattering of gold,” says Reddy. In these years there have been many inspirations—travel to textile art, even using leftover scraps patching them together to create new fabrics. Or woven panels with zardosi threadwork, made into slimmer skirts; new interpretation of Banaras with lighter more gossamer touches. “The lehenga choli is obsolete, it is now the Sharara and peplum with two sheer duppattas, and trail,” she explains. The South has become a hub for brides, the market is booming, it offers originality, variety as well as fantasy, for her Banarasi weaves are best sellers. “Capes, jackets to corsets offer a third dimension, and weddings are a mix of cultures. There is no set template of what will work, we need to keep evolving as brides do and frankly Bollywood wearing a Jayanti Reddy creates enormous awareness,” she concludes.
Insta helps boost revenue, says Nikhil Mehra
Gender fluid Shiva-Shakti has been a leitmotif for Nikhil Mehra as the younger brother in the duo Shantanu-Nikhil confirms menswear is where the real game is now! By Asmitaa Aggaarwal For 25 years now Nikhil Mehra, the younger sibling of the duo Shantnu and Nikhil has been on a trek, in the world of fashion, he calls it a journey of “self-exploration”. The focus has been on transforming men’s silhouettes, moving away from the idea that a man is simply a “caretaker’. “There is a sense of poetic femininity, where drapes are the mainstay. Women in S and N couture are portrayed as strong independent brides, rather than coy, not romantic so in some ways it has been a role reversal of sorts. “If you look at the history of couture it was considered the holy grail, unapproachable. Now for the last few years it is moving away from ostentation, display of wealth, with a lot more focus on experimentation,” says Nikhil. Maybe that’s why the obsession with red has dimmed, societal norms have been broken, brands are looking at watered down versions of couture—Anamika with AK-Ok and Tarun Tahiliani with OTT. “Less is more for us, we try to tell a story through minimalism, like our hand-crafted brooches, there may be a lack of abundance, but there is a definitive respect for crafts,” says Mehra. Though he questions, “just because it is $4000, should we say we have put 4,000-man hours making it? We don’t think like that? He works with sporty elements, as games is what keeps him going personally too, here too there is innovation—yarns are developed, mostly breathable knitted fabrics, wool blends. “Accessorizing has been a fun thing, so we channel military regalia, kamarband on shirts/sherwanis, merging two different worlds,” he adds. Nikhil admits post-colonization, we embraced colours vibrantly, as well as prints and refused to be cowed down by a Western aesthetic of black and greys. “Fantasy in fashion is before you are 22 years old, after running a business, you grow up really fast. The theme of Shiva Shakti, gender fluid has been constant in our lines, even as our brides have abandoned dupatta and decided to wear a lehenga with structured jackets, that she can wear with drainpipe pants later for a girl’s night out,” he smiles. Men have been neglected in fashion, he believes, so the brand took cognizance of it, “men are no longer a mere plus one, they have an identity of their own”. Pre-covid couture was only wedding wear, now it is about celebrating every moment, not just a D-day, anniversary, a personal milestone et al. “Paris Fashion week, celebs walked for Balenciaga, among others, so the showstopper is an important aspect, good for business. FB and insta generate revenue for us. People want to see what their icons are wearing,” he adds. His fav hues—dark navy and cherry, mix in this is deep emerald, slate greys and rubies. That’s why his line for ICW 2025 titled “Metropolis” serenades a global man, who takes his cultural identity with him. “We went to Moscow, St Petersburg, and Pitti Uomo, to Sardinia, a man now is unapologetically well dressed, he enjoys the process. That’s why menswear is more potent now than ever before,” he says. Vivan Mehra, his son, is now gearing up for Emerson college Boston, in filmmaking and acting, so like all doting fathers, Nikhil believes he gets this talent from his mom, Vidushi, a theatre actress. “I knew he was not going to study accounting or engineering, rather performing arts was calling. It was a toss up between football and acting, the latter won. In fact Karan Johar told him to watch a lot of Japanese films, watch finer nuances like lighting to understand 70 MM world,” he concludes.