“We design for ourselves, full stop,” Abu Jani and Sandeep Khosla categorically state when asked how they manage to remain relevant even 30 years after they launched their couture label. “Great design isn't made for an audience. Instead, it always finds an appreciative one.” This credo has served the duo well, indeed—they started out in 1986, when designer wear was still an unfamiliar concept, and have eventually played a pioneering role in shaping the Indian fashion industry.
While their sensibility has always been rooted in classical elegance, they haven't shied away from embracing the future through the reinvention of technique, craft and silhouette. But at the end of the day, it ultimately boils down to a reverence for beauty, finesse and detail for them. “This informs not just our sensibilities, but also our lifestyle and every single ensemble we put our name to.”
Their journey is peppered with several milestones—being the first to use chiffon, georgette and organza; winning the National Award for Costume Design for Devdas; and dressing the likes of Dame Judi Dench and Beyoncé are only a few of the many. Their army of loyalists boasts the likes of Amitabh Bachchan, Jaya Bachchan, Dimple Kapadia, Amrita Singh, Shweta Bachchan Nanda and Sonam Kapoor. But it's not the mere matter of dressing celebrities in their case; the designers have become ones in their own right.
As they look back on “30 years of a life fully lived, and a journey packed with adventure, ambition and passion,” the stalwarts speak to Vogue about how they do it (on their own terms).
When you started out in 1986, designer wear was still a niche concept. What has the evolution of the brand been like? We didn't define our work or classify it as designer wear. We knew we were passionate about expressing our creativity, and that that creativity was informed by a zealous commitment to the finest. Sans shortcuts or compromise. For any artist, that expression is a continuum. The drive and passion to excel, to set impossible standards, meet them, and then raise the bar higher is key. The evolution of the brand has been a natural result of our own creative progression. Whether it is our work in interior design or adding diffusion and western wear through new labels like ASAL by Abu Sandeep and Khosla Jani, this growth has been fuelled by our relentless ambition to work in new mediums and fulfil new dreams.
ASAL by Abu Sandeep is diffusion wear that carries all the hallmarks and sensibilities of our couture but diffused to reach a wider and different demographic. Khosla Jani is our international, western wear label, steeped in romance and carries forth the mystique of Hollywood in its golden era. The idea is to challenge ourselves as artists as well as to expand our own vision and expression.
Describe the woman you were designing for back then. How has she changed today? We have never designed for anyone in particular, always for ourselves, and what our own joy and satisfaction dictated. Today's couture client is definitely more exposed, adventurous and open to experimentation. However we also miss the more ‘natural' self-created individualistic sense of style, which wasn't so trend-conscious or prone to clone-like conformity. Rather, it was set by one's own sense of style. We are fortunate that those who appreciate our creativity tend to be men and women who are confident, discerning and prefer to please themselves, rather than fit in or conform to outside rules. We like to think of couture as being something people deserve rather than need.
Your label is known for reviving traditional techniques like chikankari, mirror work and zardozi, among others. How do you reinvent these to appeal to the modern Indian woman? We reinvent techniques for our own satisfaction and to follow our own calling. For instance, it was our first trip to Lucknow that ignited our imagination and mission to revive and reinvent chikankari. The modern Indian woman, much like Indian women through the ages, are delighted by beauty, by dressing up, and by celebrating their femininity through their clothes and accessories. It isn't a case of creating something that appeals to them. It's about creating something appealing that they will naturally be drawn to.
How have you managed to remain an unwavering favourite with brides over the years? By constantly upping our own game. By digging deep into our own creative reserves and letting the sky be the limit for our own ambition and imagination. By never resting on our laurels or changing our core sensibilities or aesthetics. By setting trends rather than following them. Our madness has its method. Create that which satisfies you, and you will create a market for your work. Cater to a market and its demands, and you will soon run out of both steam and success. It is never enough to draw from the well of one's legacy. One must always push further and leave one's own stamp on the classical.
How has the Indian bride evolved in her tastes and preferences, and what is she looking for according to you? Every bride dreams of the perfect wedding, and her ensembles are key to that fantasy. Brides have become more adventurous when it comes to sartorial choices. Weddings have become more cosmopolitan with theme nights that call for western wear. We don't cater to the bridal market. We create bridal couture that reflects our own inspiration and sensibilities. So we created chikan, khadi, and white and beige ensembles. It's all about twisting and breaking traditional rules for us. We have always found that brides who possess a sense of adventure have lapped these up.
What is the key to reinventing Indian bridal wear without compromising on its traditional essence? It is a je ne sais quoi that cannot be defined. You have to strike an unquantifiable balance between the reinvention of and reverence for tradition. It is, of course, an art to know what to leave behind and what to retain. If it ain't broke, don't fix it. And if you are going to fix it then make sure it's better than what was broke. We are designers not writers. The art is the statement.
Was the launch of your cocktail line a conscious decision to present outfits that cater to pre-wedding functions as well? We don't make conscious decisions. That is the methodology of businessmen. The need to create drives us. It is emotional, not cerebral. We didn't do western wear as part of the herd or to capitalise on a new market demand. When we became enthused and driven to design dresses and gowns, we began designing them and our label, Khosla Jani was born. If it isn't a compulsion, it's just a product, and remains a mediocre one at that. It has to be a mad restlessness and unbridled passion if you're going to excel at your craft.
You are also working on the costumes for Veere Di Wedding. How is working on movies different from designing for the runway for you? For us, film is as real as the runway. These aren't just costumes, they are the character's wardrobe. So the same attention to detail, quality, and personal style is given to a film ensemble as we would give to a made-to-measure outfit for a client. The character, her personality, spirit, mood, situation and physical beauty all come into play. So it isn't like designing for the runway, it is designing a custom ensemble for X. There is no compromise on quality whatsoever just because it's for the screen. This is why we work so rarely in cinema, as we can't cut corners. It is against our sensibilities as artists.
Rhea Kapoor, who is a trendsetter herself having introduced the concept of celebrity styling and dressing in India, is producing Veere Di Wedding. We have worked closely with her for years to develop looks for Sonam (Kapoor), who is our muse. When Rhea approached us, it was an instant yes, an absolute no-brainer to design for her movie. We love all the girls in the movie (Sonam Kapoor, Kareena Kapoor Khan, Swara Bhaskar and Shikha Talsania), and with Rhea and Ekta Kapoor as producers, it was a delight to collaborate on this project. Rhea sat with our team and us, and we developed looks for each character. It's been a great experience.
