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Fashion

Payal Singhal: Indian Design Is Rich Enough And Doesn’t Need To Scream ‘Indian’ To Be Authentic

She’s dressed big stars and she's dressed even bigger names when they were just on the brink of embracing stardom. There’s history, there’s connection.

| Ipsita Kaul
Payal Singhal

What does it feel to have spent 25 years in the fashion industry? One can be sure that you’ve seen it all–contentious fads, rousing ascents and a burgeoning exchange with the west. Payal Singhal, ever since the conception of her brand in 1999 has been privy to the ever-evolving taste of Indians here and abroad, marked by discerning attitudes and a higher disposable slab of income. She’s dressed big stars and she's dressed even bigger stars when they were just on the brink of embracing stardom. There’s history, there’s connection.

She’s now collaborating with tech giants and designing Stanley cups with her iconic prints and classic PS sensibilities, something that’d fit right into a marketing masterclass module for an MBA course. In an exclusive conversation with ELLE India, the designer opened up about creative integrity, the dynamic notion of ‘Indian-ness’ in homegrown fashion and a yearning to work with Dries Van Noten in the future.

ELLE: Do you think Indian design has become too obsessed with ‘Indianness’? Where do you draw the line between cultural homage and creative stagnation?

Payal Singhal (PS): That’s such a relevant question. There’s a fine line between celebrating our heritage and becoming confined by it. Indian design is so rich—it doesn’t need to scream ‘Indian’ to be authentic. For me, the goal is to reinterpret traditional elements in ways that are globally relevant. The homage lies in intention and respect, not in replication.

ELLE: Tell us about your new store and reason for having a larger retail presence in this digital age.

PS: The Turner Road store is a very special milestone for us as it reflects the Payal Singhal world: eclectic, contemporary, rooted in tradition but constantly evolving. Even in this digital age, I believe people still crave that tactile connection with fashion. They want to feel the fabric, see how a drape moves, and experience the craftsmanship up close. Brick-and-mortar stores allow us to tell our story more intimately, especially in a neighborhood like Bandra that blends heritage and modernity so effortlessly.

ELLE: Has commercial success ever compromised your creative integrity—and how did you reconcile that?

PS: It’s a balance every designer has to strike. There are times when you design a piece that may be creatively fulfilling but not commercially viable. Over time, I’ve learned that creativity and commerce don’t have to be opposing forces. You just need to find the sweet spot where your signature vision meets what people want to wear. Sometimes, constraints can actually push your creativity in unexpected directions.

ELLE: Has architecture influenced the way you drape or construct garments? What about poetry, food, or cinema?

PS: Absolutely. I see fashion as part of a larger cultural ecosystem. Architecture, especially Art Deco and Mughal styles, have influenced the way I approach structure and detail. Poetry teaches you rhythm and nuance—qualities that translate into fabric movement. Food, cinema, travel—they all feed the imagination. I’m constantly inspired by narratives, especially ones rooted in emotion and identity.

ELLE: Has Bollywood helped or hindered Indian fashion’s evolution on the global stage?

PS: Bollywood has undeniably brought visibility to Indian fashion, especially internationally. But it’s a double-edged sword. Sometimes, the representation can become one-dimensional—over-the-top bridal or costume-like. The key is for designers to use that platform while also expanding the narrative. Indian fashion is not just wedding couture; it’s everyday elegance, contemporary silhouettes, and quiet luxury too.

ELLE: What’s one traditional textile or technique you think the fashion world has completely misunderstood / underutilised?

PS: Mushru is a fabric I think still hasn’t received its due. Its beautiful texture and rich history make it incredibly versatile, but it’s often boxed into ‘heritage’ rather than explored in modern contexts. Similarly, crafts like Kashida embroidery have such storytelling potential—they deserve a more prominent, contemporary platform.

ELLE: What do you hope the next generation of Indian designers unlearns from yours?

PS: That success is defined by bridal wear or celebrity dressing. Fashion in India needs to grow beyond that. I hope the next generation feels free to explore niche markets, to prioritise sustainability, and to stay true to their voice without chasing trends or validation. There’s room for multiple kinds of success in this industry.

ELLE: Which international designer should collaborate with you?

PS: I’d love to collaborate with someone like Dries Van Noten. His understanding of print, texture, and global culture feels very aligned with what we do at our label. It would be fascinating to see how our East-meets-West aesthetics could come together in a capsule that speaks to both tradition and innovation.

Also Read: 

Celebrating 25 Years of Payal Singhal: A Journey of Craft, Creativity, and Courage

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