Joining us from India as part of our Next in Vogue 2025 conversations, Sabyasachi Mukherjee needs no introduction. A revered name in Indian fashion, he’s dressed everyone from Alia Bhatt to Deepika Padukone, with one of his most recent creations worn by none other than Shah Rukh Khan at this year’s Met Gala. Marking 25 years of his eponymous label, Sabyasachi has long been a household name. The “Sabyasachi bride” has become a dream archetype for many—a testament to his mastery of craft and refined understanding of traditional Indian bridalwear. Each creation is an ode to detail and splendour, his signature intricacy and glamour capturing the richness of India’s artistic heritage.
One word that anchored the conversation was craftsmanship. True to his roots, India remains his greatest muse—a treasure trove of artisans whose skill and dedication he deeply honours. Every piece is meticulously made in his Calcutta atelier, where garments, jewellery, and leather goods are all produced under one roof. It’s a rare, holistic process that celebrates his home country’s living legacy of design.
Surprisingly, the seeds of his journey trace back to none other than our very own Singapore. In 2003, Sabyasachi won the Grand Winner Award at Mercedes-Benz New Asia Fashion Week—a milestone that earned him internships with Jean Paul Gaultier and Azzedine Alaïa. It was while attending Gaultier’s haute couture show in Paris that he experienced what he calls the true turning point of his career—a moment that ignited the vision for the label now shaping the global perception of South Asian luxury.
In this conversation, Sabyasachi speaks to associate deputy editor Maya Menon about the making of his renowned label, the importance of community and craft, and how the dream of becoming a “Sabyasachi bride” came to be.
This year marks 25 years of Sabyasachi. When you think of that milestone, what comes to mind?
That I survived. In fashion, if you survive a year, you know you can do five more. If you survive a decade, you’re a star. And if you survive 25 years, you’re a relic. I’ve never felt older, but my young design team keeps me youthful. It’s been a good year.
When did you realise that design would become your language and your way of storytelling?
I didn’t plan to become a fashion designer. I wanted to study medicine. But my father lost his job, and I had to drop out of school so my sister could continue. I did odd jobs—from apprenticing at a shoe company to running my own small agency. Eventually, I joined NIFT because fashion was the only course open to me. I learned quickly that when you grow up poor and stop fearing poverty, you lose shame. You learn to hustle. That practicality helped me build a business, and it grew fast.
There’s often the notion that creative work is “less than” traditional professions. Did you feel that at the time?
Many of us in the Global South have small companies, so we do everything ourselves—creative director, HR, marketing, finance. In fashion, you need both left-and right-brain skills to survive. It’s a demanding industry, but one that rewards resilience.
You graduated from NIFT and turned down offers to work for other designers. What gave you the conviction to start your own label?
I had nothing to lose. When you don’t finish school, the world becomes your classroom. You question more. I didn’t want to work under anyone—I wanted to build something of my own. Money never excited me; it’s never defined my worth. When you remove money as your measure of success, you start chasing excellence instead. Success can be performative, but excellence is private. I chose excellence.
Were there any figures who inspired your design philosophy?
My two grandmothers shaped me most. My paternal grandmother was a minimalist and fiercely independent; she taught me that being poor doesn’t mean you can’t have standards. My maternal grandmother came from wealth but believed the only thing worth aspiring to is love. They taught me commitment without fear, and I try to weave those values into my brand.
“Learn from criticism, but don’t lose your idealism. That’s what makes you special.”
You mentioned backstage that the seed of your journey actually began in Singapore, tell us more about that.
It’s true. I first came to Singapore for Mercedes-Benz New Asia Fashion Week, and got fined for jaywalking! I won the Grand Winner Award, which gave me a scholarship to intern under Jean Paul Gaultier in Paris. I had never been on a flight before. I remember attending Gaultier’s couture show and Christian Lacroix’s too, I was awestruck. I told myself: if this is what they do in Paris, I’ll do the same in India. That’s when ambition took root. So thank you, Singapore.
You began your brand in 1999. What was the vision for Sabyasachi?
I’ve never seen India as a third-world country—it’s a first-world civilisation. For too long, our culture has been appropriated. I wanted to change that. What belongs to us will always return to us, and I believe it’s India’s time now. When people abroad see my work, I don’t negotiate from subjugation. I say, “I am an Indian designer. This is my product, and I deserve the best.” That confidence is what I want to restore.
You’ve said, “I hope to create India’s first global luxury super brand.” What did your early international experiences teach you?
When I first showed in America, people told me my work was “too Indian.” I couldn’t defend myself then. Later, I met Suzy Menkes, who told me to go back home, become a rockstar there, and return only when I had leverage. It was the best advice I ever received. I focused on bridalwear—it became our cultural epicentre. Success changed the conversation. Suddenly, what was “too Indian” became “the most beautiful clothes they had ever seen.” The lesson? Hold still. They won’t know it’s right until you show them it is.
Craftsmanship has always been at the heart of your work. Why do you think it matters more than ever today?
Luxury used to be about money. Today, it’s about rarity and human touch. Mass-produced “luxury” is losing meaning; true luxury is what takes time. That’s why India has such potential—our heritage is lived. Our women wear their culture every day; our craftsmen still work by hand. When the world shifts back to handmade, India will lead.
What goes into making a Sabyasachi piece?
We’re a craft-first brand. Whether handbags, jewellery, or clothing, every design involves human hands. I’ve often said: if a machine can do the work of 20 people, kill the machine and hire 20 people. Almost everything is made in our Calcutta atelier—printing, embroidery, pattern-making, jewellery, leatherwork. We create end-to-end because that’s what true luxury means.
How have you seen the Indian fashion landscape evolve over the years?
India has always been a savings economy—trauma from Partition made generations cautious. But today’s youth are different. They’ve studied abroad, built startups, and are unafraid to spend on experiences, not just security. It’s a generation liberated from economic fear—one that believes that they can and will build their own lives.
What advice would you give young designers building a sustainable career today?
Believe in yourself until the world catches up. Stay the distance. A visionary is often a lonely person—you see things others can’t. If everyone understands you, you’re probably mediocre. Learn from criticism, but don’t lose your idealism. That’s what makes you special.
If you were hiring for Sabyasachi, what would you look for?
A happy person. If I must choose between someone brilliant but unkind, and someone average but good-hearted, I’ll choose the latter. You can’t build an empire without good people. Congeniality builds community—and community builds greatness.
When I entered fashion, everyone warned me it was a terrible industry. But I said, how could it be? It’s full of artists. And art cannot exist without goodness. I’ve built my brand on that principle. I’m a tough boss, but kindness is non-negotiable. Goodness creates excellence; without it, you create nothing.
“When you create with heart, the world helps you carry it forward. That’s what I believe will happen with Sabyasachi.”
Let’s talk about Shah Rukh Khan at the Met Gala—an unforgettable moment. How did it happen?
I’d never met Shah Rukh before, though we knew of each other. Everyone told me not to bother asking and that he’d say no. But I insisted on one phone call. When we finally spoke, I heard his kids in the background shouting, “Papa, do it, it’s the Met Gala!” He asked me, “Why should I go?” I said, “Because representation matters. You’re the biggest movie star in India. Do it for the Global South.” He said okay. His only request: “Make me look like me.” So I designed a black suit—because when you bring Shah Rukh Khan to the Met Gala, you bring Shah Rukh Khan and nothing else.
If you were to create a Sabyasachi piece inspired by Singapore, what would it look like?
It would be a Singapore–Calcutta collaboration. Both cities share stunning colonial architecture. I might create a handbag inspired by that—a blend of Singapore’s structural beauty and Kolkata’s soul.
As you look towards the next 25 years, what do you hope Sabyasachi’s legacy stands for?
The brand doesn’t belong to me; it belongs to India. I hope the next generation builds it into the country’s first global luxury super brand. I’ll lay the foundation—they’ll build the future. I remember visiting Gaudí’s Sagrada Família in Barcelona. I sat on the pavement and cried. A stranger walked by and said, “It happens all the time.” And I realised why: Gaudí is gone, but people are still conspiring to keep his dream alive. When you create with heart, the world helps you carry it forward. That’s what I believe will happen with Sabyasachi.
