Completely stripped bare of the live ‘special effects’, images of Sabyasachi’s summer-resort 2015 found their way into my iPhone screen across the Atlantic almost real time via Instagram, Facebook and WhatsApp. The first message came from supermodel Indrani Dasgupta. She didn’t tell me that she had opened his show in a purist sari. Or that she had the only two purist Indian looks in the entire line-up of Big Love. She only said “beautiful show :)”. 

Having been a fan, friend and fashion writer, the post-Sabyasachi show phase was always rather interesting. It made for a hot topic of conversation and sometimes contention. Texts and calls used to pour in. Between oohs and aahs, there was an occasional ‘argh’ saying ‘same old, same old’. And my reply was also always the same: ‘You have to be there to feel it.’ 

This season, I sat it out in my living room in USA, feeling withdrawal symptoms. I was missing Big Love, Sabya’s big gig. Flying all these ladies from across the country, a Byculla mill sounded like an exciting off-site venue, buzz about a power-packed front row. 

I wasn’t going to be there, so was I going to feel it? 

 I hyper-zoomed in the pictures. I didn’t see the video till much later. I read the comments also known as hashtags, by the Insta world dominated by bloggers, stylists and journo friends. It was out there: Big Love was a big hit. And of course there were those who felt a little bit of Tom Ford, Gucci and Anamika Khanna. 

After seeing his last few couture shows and his recent pret shows that were also an unapologetic woo show for his brides, Sabyasachi by Sabyasachi was a breath of fresh, light, spring air. The label has been on the shelves for a while. He loves designing one-off pieces for S by S. In fact, he had started this line to satisfy himself creatively. Oh how satisfied he must be. 

At first glance, the collection looks ‘different’, like it has no blood relation whatsoever with the original, but on a closer (zoomed, repeated, on-loop) look it gets clearer. It’s not an unrelated relative. It’s just the more whimsical, bohemian twin sister. It’s all very much Sabyasachi. And that’s not necessarily a bad thing. 

Big Love is big on things that he loves. The florals, both vintage and supersized, the monotones, the matchy-matchy, the tasselled gilet, the un-pretty clogs, the non-made-up faces, the unfussy hair, the carefree Seventies vibe, sailor-striped tees…

The collection had another thing that he loves: shock value. First, that disco ball shine. He has done the galaxy (sequin-spangled) sweater and sari but this bling was blinding. The models must be grateful for those sunglasses. Second, that skin show. This show must have used more bronzer than all his previous shows put together! He made us rediscover handloom when we needed a palate cleanser. That was then. Now, he’s making us join the gym! Excerpts from a chat with Sabyasachi…

So how did Sabyasachi suddenly go sexy?

Well, the country suddenly got very young! India is as tricky as the ocean floor. Have you ever walked on the floor of the sea when you are in ankle-deep water and then out of nowhere it’s 10ft deep? That’s what happened.

Suddenly the demographics of the country shifted to super-young and we were not prepared. From a business point of view, my company sells clothes to girls who are young. On an average, girls get married between 19-22 and they come back only two or three years later when there is another wedding in the family. It would be stupid not to start a line to fill the gap. 

From the time we showed Opium (couture week collection, 2013), the brand has learnt the lesson that women only want to look beautiful. And this has become the new brand mandate. Looking back, my first couture week was too heavy and costume-y and ever since Opium, followed by Ferozabad last year, the new look is pure glam. Look at Ralph Lauren — he is unapologetically selling the big American dream. His clothes are straightforward, easy to understand, glamorous, sophisticated and luxurious. Women who wear Ralph Lauren are extremely powerful and confident, whether they are heading a bank or socially. Ralph Lauren is a brand that comes with no bullshit, just easy breezy clothes that are tailored very well. 

I have since realised that I don’t have to tell bullshit stories to keep tongues wagging. Any collection that is extremely easy or simple, fashion has a problem with it. They feel we designers haven’t tried hard enough. The thing is that every year, with intellectual masturbation, we try to make fashion difficult. But with this collection, I have made a foray into straightforward ready-to-wear. 

People don’t like it when there isn’t much to be decoded, or if everything is too easy and too pretty. Marc Jacobs shut down one of his labels, Frida Giannini quit Gucci and I am tripping over Saint Laurent. The common thing among these three points is that they all like to address the issue of women getting dressed up in a straightforward way. No gimmick; no anti-deconstruction. But all over the world, there is a big frenzy trying to push too hard, like bad modern architecture. 
 
 

But you have attempted ready-to-wear before, haven’t you?

No, not really. I would say that with Big Love, I am inching towards it. This was still more resort, and RTW is a lot more fuss-free. When Phoebe Philo took over the reins of Chloe from Stella McCartney and presented her collection, the whole world suddenly wore high-waisted pants. Philo made Chloe a household name. Same thing happened when Balenciaga did the 3D clothes. At that time, the world needed tech. The third milestone was when Lanvin took ready-to-wear back to being easy breezy. At one point, we all thought that those three could do no wrong. But look at them now — only Chloe is still doing well, Balenciaga is no longer relevant and Lanvin is also slowly fading out. It’s important to survive. In the game of fashion, you have to catch the pulse. The world is fed up of big, cluttered and outlandish dresses that take away from femininity. This collection is a homage to the new India where fitness is the new mantra. So, there were lots of bare hands, shoulders and tiny waists. There is a big gap of ready-to-wear in the country. Do you know who does an Indian woman go to when she needs an elegant, sophisticated evening outfit? She goes to her local tailor. She gives him her expensive Benarasi dupatta and asks him to make a plain ivory suit to go with it. To plug the ready-to-wear gap, I decided to follow the ‘ladies tailor’ model. Most looks were simple. They had one fabric. A simple, beautiful cotton or georgette but everything was manufactured like couture.

There was a distinct new look in the clothes and the saris didn’t look like Sabyasachi saris! 

For starters, the saris didn’t have a border! There was no embroidery, no detailing. These were strictly eveningwear saris. We did a scarf or a dupatta around the neck. It was all layers and layers of fabric, very much still a sari, but it had the vibe of a Valentino gown. There was no petticoat, but georgette boxer shorts instead. This was done to cut down the volume. I didn’t want the petticoat to create a barrier between the body and the sari. My inspiration was Sridevi in Mr. India, her blue sari billowing in the wind. This, in my mind, is the new-age contouring. The saris were worn with trousers, jackets, lounge-y kurtas, as one-shouldered kaftans... This sari is definitely our massive innovation for the season.

After years of rallying against the tampering of the sari, why did you feel the need to innovate? 

I did not tamper with the sari,  I just showed new ways of wearing it. I didn’t do any sari gowns. None of my saris are pre-stitched. They are all six metres of unadulterated fabric. The new-look sari is all about freedom, ease and glamour.
  
 

Freedom, ease, glamour.… You have clearly moved on from your Vidya Balan days.

Hmmm. (Stony silence) 

From Deepika to Sridevi, Kajol to Kalki, Kiran Rao and bestfriend Rani, you flexed your Bollwyood biceps to pull off quite the front row…

I don’t design clothes to woo Bollywood. I would like to be arrogant and say that Bollywood woos me. I think they perceive me as an image-changer.

My press release had lines from Madonna’s ‘Dress You Up’… ‘You’ve got style, that’s what all the girls say. Satin sheets and luxuries so fine. All your suits are custom made in London. But I’ve got something that you’ll really like.’
This pretty much sums it up. 

I think Bollywood is going through its own problem. Every actress has access to every label in the world but everyone wants differentiation. The goal is now not to be just sexy but to be global with an indigenous feel. Who doesn’t want a little bit of customisation? These girls may have all the major brands of the world, they all know their Marchesa from their Moschino, but India can offer a differentiating factor that no one else can. 

Bollywood treats me differently from the rest of the designers, including Manish (Malhotra). They know I have a serious body of good films with some of the best directors of the country — Rani in Black, Vidya Balan in Paa, Sridevi in English Vinglish and Aishwarya in Guzaarish. They know me as an image-maker and the fact that I have won a National Award (for Black). When the girls talk to me, they talk with the respect of someone who knows his craft. They all wanted to wear Sabyasachi but I hardly ever did clothes that were non-red carpet or easy breezy. Now it’s time to change. 
 
And then, what’s next?

We are opening another store in Kala Ghoda, Mumbai. It will combine art, eclectic furniture, antique pieces, vintage fashion accessories, wall art and the Sabyasachi by Sabyasachi line. It’s going to celebrate contemporary India.  

Shradha Agarwal