More than three decades after he left his Rourkela home to study at the Fashion Institute of Technology in New York City and subsequently set up his eponymous label, he successfully dressed the likes of Michelle Obama, Glenn Close, Hilary Swank, Jennifer Lopez, Taraji P. Henson, Mindy Kaling and Lupita Nyong’o, among others. Yet, Bibhu Mohapatra remains a son of the soil. No conversation is complete without that familiar longing for one’s roots and the attempt to know them better. If his Fall ‘25 collection drew from deep personal stories, Bibhu’s Fall’26 collection extended that relationship. The power-chic, layered collection, featuring strong colours, textures and elegant detailing, was inspired by the female sages of the Vedic era, called the Brahmavadinis. Bibhu collaborated with Tanishq USA for jewellery and Janavi India for their luxurious scarves.
Our conversation with Bibhu meandered through varied emotions— starting with Nancy Cunard to the spirit of the Brahmavadinis, his mother’s embroideries, the need for grace, time to pause and observe, his love for Calcutta and a call of the heart.
If it’s literal, it doesn’t speak to Bibhu...
My chunky bangles reminded Bibhu of British writer and political activist Nancy Cunard, known for her dramatic and edgy-bold style. “When we did the Nancy Cunard collections—and we’ve done it twice—the only literal reference was that we first looked at many handmade bangles, but the collection was all about her spirit. I find a connection that fuels my mental and spiritual energy, pushing me to create. It’s more for the audience to relate to it because when you put together 30 girls, there needs to be some commonality tying us together,” said Bibhu.
He has always been inspired by the power and agency residing in women. For his Fall’26 collection, Bibhu looked at the Brahmavadinis — “Vedic women sages who pursued ultimate knowledge and spiritual liberation beyond prescribed domestic roles.”
“I was doing my research. If you look at the role of women, considering all the activism and the support from both men and women, who stand in solidarity with women, regardless of culture, it resembles a graph. It’s always up and down. We make progress in one direction and regress in others. And it’s very alive in me. I’m living in America right now, and as they say, America is an experiment, but there is hope that the system can fight off infection and clear it. It’s like having a pimple.
“I discovered the Brahmavadini concept, where these female sages in ancient times also demanded equal rights and positioning. Equal standing in social structure or education. So they demanded to be educated with male disciples. They were also accepted to the extent that a lot of the hymns in the Vedas were written by them, such as Lopamudra and Gargi. My sister is named after Lopamudra. This collection kind of is dedicated to people like Lopamudra.
“That became such an interesting angle for me to sort of say that, okay, I come from a culture where, before women’s rights and equality became a catchphrase and a current crusade — almost to its detriment, turning it into a fad — people didn’t say, “Oh, hey, I’m a feminist.” I wear a T-shirt that says, “I’m a feminist, my job is done.” I come from a culture where that was the way of life centuries ago. It was by no means an easy deal.
“I was trying to send these girls as messengers for these Brahmavadinis. They could be anywhere, and we never realise it. It’s their stories, their minds, and how they think that defines them. I’m talking about women who existed in India centuries ago.
“The same leaders are amongst us and within us, and we just have to look for and find them,” he smiled.
The colour story...
Bibhu drew those primarily from the temples and outfits of monks from different monasteries. There’s burgundy, plum, gold, ivory, stone, onyx, copper, sandalwood and white. “A lot of it is inspired by the flowers from the temples, the day after. Technically, they aren’t fresh enough to be offered again, but they are already blessed. So we take those. So, what does it mean to be a flower, to be offered to the highest divinity, when it also has a timeline? Then, it sort of no longer has that place, but it still has so much purpose. The colour story became very tight, featuring beautiful copper shades ranging from gold to claret, which is a burgundy colour,” he said.
The details...
Designed for daywear and cocktails, the collection also featured “elevated day-to-evening separates”. Bibhu used custom guipure lace, embossed gold-thread jacquard, vegan leather, faille, sheer and satin crepes, silk mousseline, fine wools, double duchess satin, cashmere, and candy-textured fabrics. References to temple sculptures were included. “They became more dimensional. We developed this drape at the hip, which you can adjust. You can pull it down, and it becomes flat or more sculptural. People love it because optically, it makes your waist look slimmer. We improvised on that because we knew people liked it. So, much of it references what performed well. Many new shapes emerged. Sometimes we start with the most complicated thing and pare it down to make it simpler.
“We wanted to present it in a modern, urban way. The Hema Gold fabric is one of the most beautiful textiles. It’s jacquard. There’s a technique for stamping gold ornaments to make them look embossed before the gemstones are set. So it’s exactly that kind of thing. The back is flat, and on the outside, it has this little bit of wool. So this allows for a drape to be beautiful.
“The fabric is beautiful, and you don’t need anything else. The Hema Gold dress sold out the next morning. I think its resonance with the broader audience is the key. And how you tell the story,” he said.
Working with Indian artisans...
Four stories featured the embroideries—Firefly, Attire Flyer, Panjara, and Chakra—all created by artisans in India. “I just don’t know how else we could do it without these artisans who make things for us. We either create the artwork or provide the reference, and they create it for us. So, it became a confluence of incredible situations between the colours and the concept,” he said.
India at heart...
Bibhu’s recent visits to India have sparked a huge interest in his plans for the Indian market. So, was he planning to expand to India? “The overall landscape is shifting, though not here, and I do not want this to be considered a vanity project. I’ve done big shows and very modest presentations, but the focus has been on the product. I am thinking of setting up an atelier where I can train and empower a small group, allowing them to work on projects beyond just embroidery. Our DNA involves manipulating the material to create shapes, a skill I was trained in, and I continue to learn from European dressmaking techniques. I’m trying to establish what makes long-term sense for the brand. I believe that knowledge cannot die,” he said.
India remained an eternal source of inspiration for him. Every time he was here, he got inspired. “I find something that stirs a familiar feeling within me, and then I embark on that journey. I think it allows me to have an authentic starting point for a collection or a story. That is at least more interesting to me than being inspired by — nothing wrong in that — a fashion film or a fashion icon to create a collection which we all have done. However, I think storytelling and talking about my roots are things I haven’t discussed enough. So I will keep doing that until I deplete my resources,” he smiled.
Calcutta calling...
The conversation turned closer to home. Calcutta, a city that continues to enchant Bibhu. He said he needed to spend a few days here. “I want to draw a parallel between Odisha and Bengal. We obviously have many similarities. The taste, the thinking, the language and the food, the likes and dislikes. I want to do a collection about Bengal from an Odia perspective. My dad went to school there. Being in a big city can be intimidating. But now it’s not. The madness and energy of New York are very much like those of any of these cities.
“But Calcutta has a certain warmth. Bobby (Beard; artist and partner) said this. He independently spent 10 days during Durga Puja. He said Calcutta is the gem. He said we need to have a place there. He wants to go and paint there. I want to involve him and see what insights he draws from it. He can do a collection. I can do a collection,” said Bibhu.
We discuss Satyajit Ray and one of Bibhu’s favourite films, Mahanagar. “The way Madhabi Mukherjee looks — that stealth energy and how she manoeuvred every moment—Satyajit Ray must have seen or found something specific to develop this character, with her in mind. I’d love to know: did the character change based on how he felt about her, or did it stay the course? I was born in the wrong decade!” he laughed.
Slowing down...
On his recent trip to India, Bibhu travelled with his brother. He shared that he heard him complain to his sister about Bibhu’s hectic lifestyle. “I woke up to that, and I’m like, ‘Oh my God! Am I overwhelming him, or am I always like this?” he smiled. Bibhu admitted that slowing down was the key. “Everything, such as television and entertainment, plays a role in filling the spaces in our lives. Information flows constantly. We are constantly chasing who gets to say what first. Everyone has an opinion, which is fine, but sometimes those opinions haven’t even been studied. We don’t have any space for sitting down and talking about life. I think we have less time for meaningful things. Personally, I want to do many things, but I’m trying to slow down,” he added.
Life lessons learnt from women...
Speaking of a reset, we discussed our grandmothers who exuded power and aura. They worked tirelessly yet still had time for themselves. They all nurtured hobbies. Bibhu remembered his mother, Sashikala, and her little framed panels of unbleached cotton that she would embroider. He said he had preserved one. Layers of perspective got added through his father’s anecdotes after she passed. In hindsight, he fondly valued her grace. “Grace is something that we don’t discuss, and we don’t teach our children. It’s a combination of generosity, forgiveness, and intelligence. I saw it in my mother. Michelle Obama exudes grace, no matter the situation. Glenn Close looks very strict, and at first she’ll be very quiet and study you. Then she becomes like a kid,” he said.
Bibhu felt society collapses the moment it starts ignoring and neglecting women. “Without women, we won’t be here. Even women need to realise that respecting women is an issue. Often, it’s ignored. We take that place for granted. And it’s not only up to the men to respect women.
“It’s funny how some things don’t always come to mind. It happens to everyone, I’m sure, but when things are not correct, something pops up, and you realise, ‘Oh, that makes sense. You know, this is how she would have handled this.’
When you realise that you can be even a little bit better (in their company), that’s when you know this is someone I need to keep close. They can transform something momentarily or permanently if we slow down and pay attention,” he said.