On January 25, Sabyasachi Mukherjee celebrated 25 years in the fashion industry with a star-studded show in Mumbai. Seen on the runway was an anniversary collection filled with extraordinary garments that blended the contrasts of colors, techniques, and textures. Exquisite textiles and embroideries—from velvet appliqués to pebbled ostrich leather—were complemented by lustrous, maximalist jewels that accentuated unmissable accessories. Madonna-inspired crucifixes, Frida Kahlo-influenced headbands, bedazzled bangles, and layered necklaces followed.
The show marked a quarter of a century of handmade creation by one of India’s most prized designers. Mukherjee, who founded his label upon the opulent inspiration found in Kolkata, stuck to a city-centric sensibility, offering new references for old traditions. “When your life is surrounded by such rich history, you carry it into the future,” Mukherjee shared. “Nostalgia automatically becomes a part of your creative language. I don’t think people buy products anymore. We buy philosophy, culture, and values. It’s essential for luxury to tell stories about provenance, the communities, and the history that bring about creation. Using traditional fabrics, heritage embroideries, and generational crafts, we tell the story of local artisans and the many lifetimes of dedication embodied in each stitch.”
Whitewall spoke with Mukherjee about creating a label that balances elements of couture with ready-to-wear appeal and how his plan to grow internationally sets him up to become India’s first global luxury brand.
Sabyasachi Mukherjee Reflects on Craftsmanship
Courtesy of Sabyasachi Mukherjee.
Photo by Sunhil Sippy. Courtesy of photographer and Sabyasachi Mukherjee.
WHITEWALL: Sabyasachi’s design philosophy is “personalized imperfection of the human hand.” Can you elaborate on this and how this is part of the brand’s ethos?
SABYASACHI MUKHERJEE: This is a philosophy I adopted from the very beginning of the brand. Even then, fashion was becoming mass-manufactured and line-produced—what I call industrialized luxury. I realized that India was capable of small-batch production, entirely done by hand, where every piece featured unique variations. While the international production cycle might consider these variations as defects, I saw them as unique, personalized touches for each customer. In the beginning, major department stores refused to stock our products because of these slight nuances resulting from being completely handmade. Today, this approach is celebrated as limited edition and is highly sought after by customers and business partners alike.
WW: Inspirations for the brand have been found in your hometown of Kolkata, including deserts, gypsies, antique textiles, and cultural traditions. What is a constant inspiration? A new source for the brand right now?
SM: Kolkata is the constant source of inspiration. I always say that who you are and what you do stem from what surrounds you. Much of my creativity used to spring from my imagination, inspired by the cultural and artistic hub that Kolkata has always been. Since I did not have the means to travel, I envisioned the outside world in my mind and created it for myself. As I began to explore the world, my inspirations became global but were always filtered through an eye trained in Kolkata.
WW: You’ve mentioned that clothes should be “an extension of one’s intellect.” What type of clothing do you aim to offer to serve various intellects, especially now when the population is more diverse than ever?
SM: I was nurtured by two exceptional women—both of my grandmothers. One a minimalist. The other a maximalist. This dichotomy taught me to appreciate the importance of both perspectives and the joy of embracing each within my creations.
I draw inspiration from the diverse groups of people I’ve encountered throughout my life. It’s a vibrant mix—from bohemian artists to conservative corporate professionals, from individuals who boldly flaunt their sexuality to those who are shy and reclusive. These influences are reflected in the silhouettes, inspirations, and fabrics of our designs. From organic dyes and humble cotton to rich jacquards and velvets, from minimalism to opulence, from intricate embroidery to the simplicity of fine fabrics—our creations embody all these elements, celebrating the diversity of the people who inspire us.
Global Roots and Modern Heritage
Photo by Sunhil Sippy. Courtesy of photographer and Sabyasachi Mukherjee.
Photo by Sunhil Sippy. Courtesy of photographer and Sabyasachi Mukherjee.
WW: In 2006, you became the first Indian designer to show at Milan Fashion Week. How has your brand expanded globally since then?
SM: Even when I had only known Kolkata, I had a very global point of view, which helped me create collections that were accessible and attractive to people everywhere. During Milan Fashion Week, I began flirting with the idea of going global, though my brand was not very successful at the time because I lacked knowledge of the international retail game. It was Suzy Menkes who advised me to return to India and develop my own brand. She encouraged me to start making Indian clothes for the Indian market so that I could acquire both power and commercial stature. Now that we have achieved both, as Sabyasachi expands internationally, it is on our terms.
WW: Your brand is known for blending tradition with modern style. What elements from each do you ensure are carried into your designs?
SM: I am an old soul. I naturally gravitate toward using heritage textiles and crafts, but I’m a modernist. Because of this duality, Sabyasachi clothing is constructed with elements of couture but with ready-to-wear appeal. For culture to be relevant, it must be dynamic; for heritage to be relevant it needs to fit modernity. We balance these elements in the designs: if textiles and fabrications are heritage-leaning, the silhouettes are extremely modern.
“If you’re a creative person, you do not need to be tied to one vocation,”
-Sabyasachi Mukherjee
WW: You’re one of the Associate Designer Members of the Fashion Design Council of India, but you’re also a board member of the National Museum of Indian Cinema. How do positions like the latter, which are tied to passions beyond fashion, enhance your appreciation for fashion?
SM: I believe that if you’re a creative person, you do not need to be tied to one vocation. One can easily transfer imagination, creativity, and ideas from one field to another. I sit on advisory boards for many companies, advising corporations on how to navigate their brands in India. I think this cross-exchange between different industries helps you see fashion from a broader perspective—one that is not just creative but also far more inclusive.
WW: You’ve designed costumes for Bollywood films, including Guzaarish, Baabul, Laaga Chunari Mein Daag, Raavan, and English Vinglish. How has your work in film impacted your career? How do you think about designing for garments seen on the screen?
SM: Designing for clothing and designing for film are completely different because when you’re creating fashion, you’re the master of your own universe. On a production set creating costumes, you’re a small part of a larger vision, and you must adhere to that vision. I approached the film with only one single vision: to establish the global reach of the brand. Nothing unites India more than sports and movies; I realized very quickly that being a part of the film industry could help me grow the brand effectively.
Weaving Heritage into Global Luxury
Photo by Sunhil Sippy. Courtesy of photographer and Sabyasachi Mukherjee.
Photo by Sunhil Sippy. Courtesy of photographer and Sabyasachi Mukherjee.
WW: You started a nonprofit project named Save the Saree, which offers hand-woven Indian saris with proceeds going to the weavers of Murshidabad. How does this initiative align with your deeper values?
SM: Save the Saree was not created to save the saree itself but to support the weavers of sarees and promote economic sustainability in their industry. This initiative began when I was very young and has since grown to include the creation of craft clusters, the education of craftsmen, and the formation of the Sabyasachi Art Foundation to safeguard and promote Bengali art.
“We will create India’s first global luxury brand,”
-Sabyasachi Mukherjee
WW: You’ve been using textiles and developing Indian fabrics for your collections, including extensive use of Banarasi fabric, but you’ve also ventured into reviving cotton Banarasi saris in pure khadi and using vegetable hand-block prints from Bagru. Can you tell us about your focus on fabric, and how it’s expanding to include more sustainable textiles?
SM: Sabyasachi is an Indian brand, and textiles and fabrics are our strength. We come from a country globally renowned for its textiles and embracing that heritage in our designs is fundamental. It creates a uniquely local identity in a globalized world where people are seeking authenticity. I began with textiles from Bengal, then expanded to pan-Indian fabrics and techniques. Today, we source textiles from around the world, collaborating with the finest small-batch mills to produce exceptional craftsmanship. This approach appeals to a growing, discerning tribe of consumers who are moving away from industrialized fashion and embracing the realm of pure handmade luxury.
We are slowly developing a global network of small-batch producers with the best-in-class elements to create globalized luxury craft for a new world of consumers. Collectively, with all our craftspeople, employees, and supportive customers, we will create India’s first global luxury brand.
