Fashion
Explore the design philosophy of the global couturier Manish Malhotra, whose work seamlessly blends classic Indian craft with a modern aesthetic. Discover how he plans to expand globally by making heritage relevant to modern luxury, focusing on sustainability, and translating the dramatic storytelling of Bollywood and costume design into couture for a global clientele.
Updated 05:41 pm EDT, September 30, 2025
Published 02:02 pm EDT, September 30, 2025
Photo Courtesy: Manish Malhotra
Special Thanks: Francesca Venturi (Elevate PR and Communications)
In an age that spins and turns at the speed of the next big thing, luxury can no longer be about that. The ultimate luxury is no longer about what is new. It’s about provenance, soul, and an unwavering dedication to craft. Manish Malhotra does not just join global conversations about fashion and design; he absolutely changes the conversation by mixing old Indian opulence with a modern, distinctly borderless outlook. Manish has dressed every leading star in Bollywood, and the international icons they become once they hit the global stage, creating couture masterpieces.
The house of Manish Malhotra has not only made its mark across the globe by dressing everyone from your Bollywood A-lister to an American Vogue cover girl. It has also turned traditional textiles into icons of heritage couture.
A man known for his prolific design output, as his house makes the biggest step yet towards a conscious penetration of international markets of the US and Europe, we get on a call with Manish himself.
In an exclusive tête-à-tête, Manish Malhotra shares with AVESSA the backstory of using India as his personal laboratory to create a brand new language for couture, his forays in new markets for Gen Z and Gen Alpha, and his rags-to-riches story of a craft-inspired takeover at the Met Gala.
The world’s most acclaimed heritage couturier is one man you need to know when talking about the future of design and luxury.
NATASHA POONAWALLA HONOURS HER HERITAGE IN A CUSTOM MANISH MALHOTRA ENSEMBLE AT THE MET GALA 2025
My approach as I go further global would not be different, it will just get refined. I’ve always spoken about a balance between classic Indian techniques and a modern global aesthetic in my collections, and that will remain my ethos. The difference is that my engagement with the latter will be much more involved. It is a chance to showcase our textiles, embroideries and craft in a manner that shows them as not just beautiful but as a relevant, important part of what modern luxury looks like, one that is familiar to and appeals to customers from different parts of the world. Designs that have a deep sense of heritage but with a global appeal. It’s the detailing, the fabric stories, and the craft which is local but will now find its place on a much wider canvas.
To me, the design process is an intuitive conversation between the abstract and the physical. Sometimes, it starts in the mind: a feeling, a story, a sketch that lingers there long before it hits the paper. Other times, it’s the material that takes precedence – the weave, the weight, the drape dictating the direction. I’ve always believed that couture begins at the crossroads of concept and craftsmanship. If an idea emerges first, I let the design take shape naturally, with the making process respected as part of the story. But if it’s a particular fabric that speaks to me first, I allow the story to develop in sync with the materials.
My influences have always been multifaceted; a mix of the larger than life appeal of Bollywood films, rich nuances of Indian heritage and the poetry of nature around us. As Gen Z grows up and we welcome the coming-of-age of Gen Alpha, the inroads of these influences will only get deeper. But the way we look at them and present them will get filtered through newer sensibilities.
We have taken some of Bollywood’s most iconic looks and reimagined them to resonate with the sensibilities of a newer age over the years; one of them being Bole Chudiyan look that Kareena Kapoor sported in Kabhi Khushi Kabhie Gham. It has been recreated more than 50 times with the original spirit staying intact, but the new takes bringing the best of what that age stands for.
For Gen Alpha, Bollywood might translate into sharper cuts, heritage might get explored through experimental drapes and silhouettes and nature, in upcycled and sustainable textiles. The core is constant, but it speaks to an ever-accelerating, ever more fluid world.
DIFFUSE | Manish Malhotra's new segment is a bridge line that caters to the screen-scrolling cohorts. The resurgence of wild, fun, noteworthy, vibrant colors and dynamic textures gives an extra edge to every stylized design.
To me, sustainability isn’t a fad, it’s a duty. It begins with paying tribute to our rich artisanal heritage, because each handwoven fabric, each embroidery technique we employ is inherently sustainable. Crafted to endure, to be cherished. I’ve always held that true luxury is timeless, not disposable, so my focus lies in creating pieces that can be worn, preserved and even reinterpreted across generations. It’s also about being conscious, sourcing responsibly, reducing waste and cultivating ecosystems that empower our artisans. At its core, sustainability is about imbuing value, culturally, emotionally, and environmentally, into everything we create.
THE EVARA COLLECTION | Manish Malhotra unveils EVARA, a collection that embraces the art of handloom intertwined with the intricate craftsmanship of the tradition zardosi and zari. This collection is a homage to the opulence of Indian heritage, encapsulating its timeless elegance through a stunning array of traditional handloom fabrics.
For me, anticipation is about tuning in to the world, to culture, to people. Fashion is a carousel that never stops spinning. But if I’m honest I have never really cared about being on trend. I design from instinct rather than trying to reflect the ‘now’. I find inspiration in cinema, in heritage and travel, in art and books and in the dialogue I have with the different generations of women I encounter.
Ideas often come from simply watching people, how they live, how they dress, how they express themselves. Trends tend to stick with me long before they are ever considered a trend. But I am not averse to embracing new processes, new techniques, new media, new platforms, while always keeping one foot in the past and in the traditional crafts. But the important thing is to not stand still, always trying to evolve, but without losing the identity that makes the work identifiable as mine.
Aishwarya Rai Bachchan wearing Manish Malhotra at the Cannes Film Festival 2025
Yes for sure. Swarg with Juhi Chawla was my debut project and ever since then I started discovering the language of the cinema. It was the beginning of my costume designing days and the learning curve has been very steep. I have learned to give expression to characters through the fabric they wear, before the character itself speaks. It’s a language to be explored, which teaches you to be aware and sensitive to the emotions and thoughts that the character conveys through its costume.
Films have enabled me to discover that language, to look at a character and see the emotions it will invoke through the story it sets out to tell. Lighting, location, emotion; the nuances which can make or break a character when it comes to dressing it.
So, needless to say that even now, when I am expanding my couture line to a global clientele, the filmi aesthetic is a part of me that continues to evolve within me. I still am able to capture a story and interpret that with my couture. A silhouette, a texture, lighting, the movement of the garment; a lot of the process is similar to what I followed in films.
The discipline in working with a script and pre-visualizing the design, detailing to suit the larger purpose of the character or the film, lends a sense of commitment in bringing out a sense of coherency, drama and something that is ageless. It’s a design sensibility that continues to evolve with every project I take on. Dressing Sridevi, Rekhaji, Aishwarya Rai Bachchan and building a luxury couture brand or Redefining Glamour with Urmila Matondkar, Karishma Kapoor, Kareena Kapoor Khan or Alia Bhatt, is all part of the journey that I have evolved through design. I believe my couture is an extension of my film legacy, an expression of the craft through character and each couture creation carries a story within itself.
Absolutely not. The more global the brand gets, the more personal and emotional I think it will become. Look at my journey from the start dressing Sridevi to establishing my name with Urmila Matondkar and Karishma Kapoor to now dressing a new generation of actors and international icons such as Jennifer Lopez, Rihanna, Kim and Khloé Kardashian and Zayn Malik.
I have always sought to translate emotion and personal sentiment in what I make. So whether we have one client or a hundred, I don’t see the personal touch becoming less important, but the way in which it is achieved will have to get more innovative. I can be as much in touch with clients who come to us in London, Paris or New York, as I am with clients who come to me in Mumbai.
Technology, pre collections and private appointments can help me ensure that my clients are as well taken care of and understood no matter where they are based. There is a real intimacy and emotion that comes with couture and high jewellery. It’s not just decoration for me, it’s emotion, memory and identity and each of those pieces becomes more personal the more I know about the person wearing it, whether they be a bride in Delhi, a collector in Dubai, or a connoisseur in New York.
I think the Indian market right now is at a very interesting crossroad. We have the revival of craft happening right now, where the Indian industry and myself as an individual are unearthing crafts that were perhaps lost and perhaps dormant and then reimagining them in a contemporary way, bringing them to a level that one would be able to see it as an artisanal craft and not just a craft. I think there is a big luxury element to India and this luxury that the India is craving, is a luxury that has a story, a luxury that is authentic and we in India, I think have that in our DNA.
In India, for me, is the base. It is the core. It is the only country in the world that has the textile, the craftsmanship, the diversity, the history and the beauty of this heritage that we have. The more I focus on this base, build on it, work with the craftsmen, play around with silhouettes, create stories, the more we as a brand, create a design vocabulary that is Indian at the core and global in its reach.
I present that vocabulary to people who appreciate it in the USA, Europe and beyond, not as an emulation of Western luxury but as an offering of something unique. As a couture vocabulary that melds together India’s opulence and the global world’s modernity. I see the Indian market as the breeding ground and the experimental lab, and the rest of the world is the stage where that creativity blooms.
Social media has transformed the way we communicate, shrinking the world and taking down borders. Indian heritage and tradition can now be instantly communicated and shared across the world, giving them a scale and currency they never had before. It has also raised the bar in terms of authenticity, and made creative integrity absolutely non-negotiable. For me it is both a stage and a storyteller, allowing the heritage of Indian craft to take wing and captivate and influence the world.
Indian craft and textiles are not just my aesthetic affinities, they are the DNA of my brand identity. I firmly believe in their continued and elevated relevance, as world luxury consumers look for pieces that have soul, a provenance and the tell-tale signs of an authentic human touch. Craft and textiles from India have artistry and an inherent timelessness that is unrivalled.
These were the craft traditions and textiles that have brought us stories across generations, narrated in handlooms, embroideries, and weaves that have been interwoven through centuries and across cultures. They will continue to be the heart and soul of my design aesthetic. I see them evolving through each of our silhouettes, in unexpected details, and the ingenious juxtapositions of old with the new. I want them to be the most modern couture in the world.
As in so many luxury couture markets, Indian couture has always placed these crafts at the centre. This year at the Met Gala, we celebrated not just one but four very different Indian crafts on the world’s most important red carpet, each translated for a global audience with the highest fidelity to its individual heritage and narrative. Moments like this make me realise that our crafts are not for an Indian audience. The world wants to see these crafts when they are shown with respect, ingenuity and great storytelling.
Fashion always arrives at its final manifestation as a triptych of external inspiration, inner reflection and fine-tuned execution. I can only be so bold as to share that if there is a single heartbeat in my memory that is resounding a little louder with pride, it is the Met Gala this year where Indian couture took centre stage with an intensity and power that the world has not seen before.
At Met Gala 2025, themed Superfine: Tailoring Black style, the team at Sabyasachi and I unveiled not one, not two, but four powerful looks, each a celebration of Indian craftsmanship and artistry, tailored with precision, yet unrestrained in their ability to express. I stepped into the night in a sculptural sherwani cape ensemble, a confluence of midnight velvet, gilded cord work, antique mirror embroidery and an eclectic collection of symbolic brooches – an elephant, a symbol of wisdom, and a rose for resilience.
Coco Jones glowed in rich satin, an embroidered cape cascading around her like a river of stories flowing in motion. Natasha Poonawalla’s silhouette was striking, a seamless blend of intricate craft and contemporary allure, while Rihanna took the global stage to present the cross-pollination between Indian couture and international glamour, in an exquisite piece from Manish Malhotra High Jewellery. The creative process began much before, of course.
An ideation phase steeped in the richness of India’s artisanal heritage, distilled and reinterpreted into silhouettes that felt both universally relevant and deeply Indian. From motifs to embroidery weight, fabric fall to lines of tailoring, each design decision was made with an eye towards both aesthetic impact and emotional depth. The intention was to create not just garments, but living narratives, with every thread whispering histories, memories and hopes for the future, as they took centre stage in one of the world’s most watched fashion moments.
COCO JONES AT THE MET GALA 2025 IN A CUSTOM MANISH MALHOTRA COUTURE
What made this edition extra special for me was a combination of feeling inspired backstage and feeling a genuine sense of celebration from the audience. As a brand that has always been very close to my heart and that has found a home away from home in Dubai, it was such a natural progression to finally stage The World Collection: Dubai during the Grand Finale. It was such an honour to have such a response from Dubai as my collection is so inspired by Dubai and it felt like everyone was on the same wavelength, from the collection itself to the audience and guests.
Growth for me has never been about numbers and it has always been about vision, passion and consistency. I believe when you love what you do, it will love you back. For me it is all about staying true to my craft, nurturing creativity and building teams that have the same commitment to excellence. Collections, stores, new verticals, these are steps forward. It’s the intention and authenticity behind them that build value and when you keep evolving and stay rooted in who you are, the milestones come naturally.
Recovering from an obsession with Italian-designed menswear, Alfonso decided to take a deeper look into women’s fashion to see how our relationship among clothing, society, and business has changed. Educated as an economist with an MBA, he travels between Chicago, Miami, and Mexico on a search to see what happens next to fashion.
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