Sabyasachi Mukherjee: The Reigning Emperor Of Indian Fashion

Setting foot in Sabyasachi Mukherjee’s world is stepping into a reverie of opulence and nostalgia. Glistening chandeliers, sumptuous rugs, and ornate Victorian furniture set the tone, while a 72-foot-long grazing table, crafted like a wild, overgrown forest, invites you into an extravagant sensory spectacle. But the thread that connects it all beneath the grandeur is the city that remains his eternal muse—Kolkata.

As Sabyasachi’s eponymous label clocks 25 years, the celebrated designer raised curtains to a grand showcase. The reception arena, drenched in theatrical excess, featured towering floor and ceiling lamps swathed in deep red floral fabric, monumental porcelain vases, and antique animal sculptures punctuating the mise-en-scène. The grazing table, carved out of lush, dense foliage, led guests onto a runway that felt less like a show and more like a journey.

The spectacle opened into another world — a painstakingly reconstructed North Kolkata lane, where the chaos of heritage clashed with the poetry of decay. Balconies jutted out unevenly, competing for space, while cracked stained-glass windows, distressed wooden furniture, and Bengal’s signature marble nameplates transported you to an era of faded aristocracy. Wires dangled messily, and the entire set was a heartfelt homage to the homes that define Kolkata’s soul.

On the runway, the 25th-anniversary collection was a declaration of Sabyasachi’s international clout. The brand that once told intimate stories of Indian craftsmanship now speaks the language of global luxury. Opening with Deepika Padukone, the show came to life through over 150 looks, spanning everything from intricately hand-embroidered zardozi jackets to soft Pashmina, Frida Kahlo-inspired headbands, and exquisite sarees that redefined Indian heritage for the modern world. From bold maximalism to quiet minimalism, the collection was a testament to Sabyasachi’s unshaken creative vision.

Ainee Nizami Ahmedi (ANA): Twenty-five years! Congratulations on the milestone. Having built such a remarkable legacy, I have to ask, what does success mean to you? Is it global recognition, personal satisfaction, or something else entirely?

Sabyasachi Mukherjee (SM): When I started the business, it was about personal recognition because I came from a poor family and wanted to be accepted in society. Then, it became about national and global recognition. But right now, it has moved beyond that to a mindset where I believe a lot of things that were done wrong to India in the luxury space need to be corrected. I’ve reached a certain position where I feel I can give it a shot because if I don’t do it, someone else will. So, for me, success is more purpose-driven now, with the aim to create global acceptance for the heritage of our country.

ANA: How has your journey as a designer shaped your identity?

SM: Working in design for 25 years has given me a certain amount of wisdom and also detachment to realise that I am not the business. Earlier, it was one person with a dual identity. But right now, the business has its own identity, and I have my own. I don’t need to role-play anymore.

ANA: Looking back at your 25-year journey, what would you say has been the most defining moment?

SM: When Albert Morris bought my collection for Browns in London. I went there during London Fashion Week (2004). As fashion folklore goes, if Joan Burstein, who ran Browns, displayed your clothes in the department store window during London Fashion Week, you would rise to prominence. The same had happened to John Galliano and Alexander McQueen. I went to Browns and saw my clothes displayed in the window during fashion week, and initially, I was shocked. Then I realised it was a sign from the universe telling me that if I worked very hard, I could build something exceptional with this brand. I am someone who reads signs from the universe, and I’m a very optimistic person. I took that as a sign and backed it up with hard work to build Sabyasachi into what it is today.

ANA: The term ‘Sabya Bride’ has become a pop culture phenomenon. What does that mean to you? How do you want people to feel when they wear a Sabyasachi creation?

SM: I didn’t realise that the ‘Sabya Bride’ would become such a big deal. It’s humbling, alarming, and, at the same time, it makes me smile. I don’t take it too seriously because I think it’s great to acknowledge that you’ve been part of a popular culture narrative. When a girl decides to get married in Sabyasachi, I just want her to feel empowered. We live in a country with a very strong sense of patriarchy, and I hope the Sabya Brides, in their own little ways, challenge patriarchy. One of the reasons our campaigns feature girls who don’t smile is that they are not here to please a man. They look at you straight in the eye and wear clothes and silhouettes that they believe are right for them. If someone wants to be modest, it’s a choice. If someone wants to be sexy, it’s a choice. I try to create enough diversity within my bridal business to allow every bride to express herself in her own way.

ANA: If your brand were a poem, which one would it be?

SM: There’s a poem by (Alfred) Tennyson called ‘The Brook’, which has a line that goes, “For men may come and men may go, but I go on forever.” I want Sabyasachi to be a timeless brand.

ANA: Do your designs feel like an extension of your personality, or do they reflect something larger?

SM: My designs are not an extension of my personality but an extension of a larger utopia—one which we are all struggling to return to. That utopia is created with mindfulness, idealism, and a greater focus on intangible cultures than on tangible financial gains.

ANA: What sets you apart as a designer, not just in India but on the global stage?

SM: I think one of the things that sets me apart is that I don’t have any personal interest in fashion. This helps me keep a very objective eye on the business rather than becoming too subjective. When a creative person becomes too subjective about their business, they miss the zeitgeist because hubris takes over, and it becomes all about their design identity rather than what the world wants.

ANA: How has your design language evolved over the years, and how does it reflect who you were at different stages of your life?

SM: My clothes, accessories and jewellery are ever-evolving as they’re a commentary on changing social life. As society keeps changing, my design language will evolve. What hasn’t changed is the ethos. We still create products with mindfulness, great care, precision, and extremely high-level craftsmanship. The output might change to reflect the times, but the ethos remains the same.

ANA: When you imagine the next 25 years, what dreams or goals do you envision for your brand and yourself?

SM: I have no personal ambitions anymore, but I have ambitions for the brand. I want Sabyasachi to be the first luxury brand from India that truly deserves to be recognised as such. I want it to be successful both in India and abroad. I’ve always believed that India is not a third-world country but a first-world civilisation, and through the work we do and the brand we helm, I hope to help people see that again.

ANA: What do you hope your legacy will be in the world of fashion?

SM: I hope to be remembered as someone who dared to challenge the status quo and brought India’s luxury heritage back home.

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