Beginning as a film costume designer and with no formal discipline, Manish Malhotra was looked upon as bankable and safe rather than a couturier. But then he evolved with time, learning from each of his experiences. On his 11th anniversary, he shares the journey with Unnati Joshi
When did you first realise that you wanted to plunge into the world of fashionIJ
The last 27 years have been one never-ending learning curve and I make sure to be constantly focussed and look for newer things to venture into. It is true that I do not have formal design training. My passion for fashion runs parallel to my love for films. All through my childhood and teens, I watched movies every week and was just mesmerised by the larger-than-life characters and the way they dressed. When I was in college, I started modelling and the foray into films and costume somehow felt like a natural progression.
How do you think that modelling and costume designing helped you evolveIJ
When I started modelling, I took a trip to Singapore and Bangkok. It was one of my most memorable trips as I experienced luxurious textiles, textures, colours and just beautiful things. I am not a reader, I am an observer and these early experiences really laid the foundation for it. Growing up, I remember being absolutely enamoured with Indian cinema, its colours, music and the fantasy. I was always fascinated by costumes as they are such a subtle, yet important part of the visual story-telling process. My styling projects were thus fuelled by the thrill of being part of a team of such creative people; being part of a process that millions of people across the world would watch. This also meant that my work had to be relatable to the viewers. Given this, my last 27 years have been all about telling stories in the language of fashion.
What according to you was the most defining moment of your careerIJ
It is extremely gratifying to see that every Bollywood leading lady from the early 90s to present day 2016 has worn Manish Malhotra. The first film I worked on was David Dhawan’s Swarg in 1989. I styled costumes for a song with Juhi Chawla in the movie. The turning point of my career was when I dressed Urmila Matondakr for the movie Rangeela, and then Karisma Kapoor in Raja Hindustani, both of which were a huge success and are still loved and remembered by all.
Out of all your stunning collections, is there anyone that’s really close to your heart and whyIJ
In the past 11 years of my label, there have been many successfully celebrated collections. If I had to choose one I would choose Deepika’s outfit in 2013 couture week as it established “royal blue” as a colour for women in wedding celebrations. The architectural old world embroidery and the fact that it was worn with a vintage-Western inspired top further established the ethos of my brand’s old world art mixed with modernity, making a glamorous statement. It’s a collection film that lock-started my large 9,000 sq feet store in Delhi to which my brand rose to higher scales.
Who, according to you are the best-dressed people globallyIJ
I am a big fan of Madonna and Meryl Streep! They are classic style icons who are individualistic and wear their personality best. I would love to style them someday.
How would you define your signature design sensibilityIJ
My style has always been opulent, modern and unapologetically glamorous. It is a classic amalgamation of modernity and tradition. The last three-four years of my couture work has been focussed on blending timeless cultural weaves with modern cuts and silhouettes. My designs are contemporary and are infused with key signature design elements every season. A classic example of this is the Manish Malhotra sari which we try and re-invent in new and different glamourous styles every now and then.
Having said that, I think I have always been lucky to have had the opportunity to work with people that carry my outfits in their own distinct way with effortless grace. I love how they bring their glamour and elegance to even my slightly subtle pieces.
What inspires your designsIJ
My previous three to four years of couture work has been focussed on reviving old structures, patterns, style and embroidery that are a blend of old-world charm on modern silhouettes. My work allows me the freedom to move around and find inspiration in everything around me. The cities I travel to, the people I meet along the way and the things I see every day motivate me.
What were the biggest challenges that you had to face during your journey in the Indian fashion industryIJ
My years in this industry have been one never-ending learning curve. I have built this brand by bridging the creative and business aspects with hard work. I would never have been able to see the ‘Manish Malhotra’ label grow to what it is today without discipline and determination. While it may sound clichéd, there is a huge sense of achievement at the end of every day when I see all our accomplishments and the hard work put in by my team. I am extremely glad that things turned out the way they did in every stage for they paved a path for me to get to where I am today.
What do you think has been the biggest change in the Indian fashion industryIJ Where do you think the industry is headedIJ
There is a fundamental transformation in today’s day and age on how we create, consume and communicate about fashion. The see-now-buy-now culture has hastened the process of retail across the globe and India has adapted well to it. A lot of my friends who sometimes can’t make it to the show text me the next morning with a list of outfits they want to get off the runway. My label, too, stands for evolving in time and embracing modernity while not letting go of your heritage and wearing your traditional weaves with pride.
Fashion aesthetics in India are increasingly becoming more global in their expression. I see the designs being more intricate, experimental and a greater respect to old craft, handloom and textile. When I look at Indian fashion; I see it to be in par with international fashion in the coming years. I see a lot of investors coming and investing in Indian designers considering we now have everything — from culture to tradition to texture, textile and great craftsmen. In the coming future, the Indian designers will be out there and celebrating Indian textile and fashion internationally. Meanwhile, I will continue to infuse tradition and heritage into modern silhouettes and further evolve the Manish Malhotra signature.
How do you think the fusion of Indian and western silhouettes is influencing today’s designingIJ
Women today are embracing their traditions with grace and panache. While they are opting for high fashion looks that are straight off the runway, Indian brides still love their outfits, being contemporary yet locked in tradition. As designers, it is extremely essential for us to keep up with the ever changing tastes and preferences of our customers. I feel reinventing goes hand in hand with evolution. My label, too, stands for evolving with time and embracing modernity while wearing traditional weaves with pride. Every outfit has its own unique story told in the language of distinct colours, detailed motifs and rich fabrics. My collections usually aim to feature exquisite bridal couture pieces meticulously handcrafted with Indian heritage embroidery and weaves whilst embedding global influence and trend from the west — and are hence, more modern, romantic and intense.
2017 marked six glorious years of your successful association with Mijwan Welfare Society (MWS). Can you tell us about your latest collection for MWSIJ
What started off as a small project with about 40 women, has now grown to employ and empower 300 women. The women get a means of livelihood by which they can negotiate a better position for themselves in a patriarchal society. The number of centres in Uttar Pradesh and especially Mijwan have grown significantly today. As one of the global representatives of fashion in India, I took up the responsibility to revive Indian textile, culture and fabrics and it makes me so proud to see how far we have all come today. Mijwan to me is a microcosm of what India has to offer to the world. Summer Couture 2017, showcases a celebratory amalgamation of the classic with the contemporary through a design story of sequins, tassels, fringes, cold-shoulders and off-shoulder styles. The collection is a beautiful play of muted shades of white, grey, beige, lilac, aqua and baby pink. Imbibed with subtle nuances of the intricate chikan embroidery from Mijwan, Uttar Pradesh, it offers elaborately detailed jackets, dresses, saris with embroidered blouses, crop tops and opulent skirts along with flowing gowns that would appeal to a young entourage.
Also, you have recently addressed the India Conference at Harvard Business School, tell us about it. How was the experienceIJ
It was one of the humbling experiences of my life to be addressing the students at Harvard Business School. I shared my 27-year journey with the students — from being obsessed with movies since childhood to working on my very first film as a costume stylist, to winning the first Filmfare award for it and to finally launching my own label. It has been one long fruitful journey and it was only possible to achieve this because I have put my heart and passion to reach where I am today. I’m glad I am able to inspire people; focus and constant need to be relevant is the key.
What advice do you have for designers breaking into the industryIJ
I think there is impeccable talent coming up in the industry lately — they are young, know their signature and understand their consumer. It’s wonderful energy to have and they are doing an amazing job. There are no shortcuts to success. I believe for dreams to get fulfilled, one must always work hard. Having said that, I would like to think each of us have our own niche and space when it comes to design language, respective retail experiences, the consumer that we cater to.
