Pune witnessed a defining fashion moment as Neeta Lulla returned to the city with a solo fashion showcase after many years. The evening unfolded with a sense of discipline and depth—one shaped by decades of lived design experience rather than spectacle alone.
For Neeta Lulla—the four-time National Award–winning couturier and costume designer whose four-decade career spans over 400 films, including iconic titles such as Devdas, Taal, and Jodhaa Akbar—fashion has never been about immediacy or excess. It has always been about intention. Rooted in cinematic storytelling and honed through over four decades of couture practice, her work is guided by precision, emotional intelligence, and an unwavering respect for craft. Each collection carries a belief that clothing must hold meaning, memory, and longevity—serving the woman who wears it, rather than the moment in which it is seen.
Having dressed some of Indian cinema’s most iconic women, Neeta brings the same narrative to this collection. Structure leads the conversation with architectural drapes anchored by strong shoulders and fluid lines. The palette settles into jewel tones, softened metallics, and grounded neutrals.
Each piece unfolds like character development—layered, purposeful, and designed to endure beyond seasons.
When we sat down for an exclusive conversation ahead of the show, what emerged was not just the force of a legendary designer but the warmth of a woman who puts you instantly at ease. She remembers names. There is no distance, no performative grandeur—despite having dressed some of the biggest names in Indian cinema.
Neeta Lulla speaks with the same ease about her three lifelong passions: designing for film, creating couture for women who value craft, and teaching the next generation of designers. Equally telling is her grounding ritual—returning home to become, as she says, “just a wife,” attentive to her husband and devoted to her grandchildren.
It is this duality—cinematic vision paired with domestic grace—that makes Neeta Lulla singular. A woman of immense scale, anchored by quiet humility.
Over to the short interview she graciously squeezed in before her Pune showcase.
This is your fashion showcase in Pune after many years. What made the city feel right for this edit?
I have a strong client base in Pune, especially bridal clients. Many of them travel to Mumbai for their outfits, particularly for the Nauvari sari (the iconic Maharashtrian iteration of the traditional sari), which I specialise in. Over the years, they kept asking, “Why don’t you come to Pune?” This showcase also felt like a great synergy with INIFD Fashion School, and after a long time, I wanted to do a solo presentation where all my clients could come together and be part of the experience.
How is a standalone fashion showcase different from working in cinema?
I’ve worked in films and mainstream couture for over 40 years. This is a very different synergy because here I’m working directly with clients—women who want to look special for weddings or important occasions.
Especially in couture, it’s all about fit, finish, fabric, and detailing. This show has a similar energy—cinema meets fashion. Since I come from Bollywood and have worked on so many films, many interpretations of the Nauvari sari come from my cinematic work.
The clothes are high fashion, but the presentation is larger than life—dynamic and dramatic, much like what you see on screen.
You often say fashion should serve the woman, not the moment. How does that reflect in this collection?
Fashion should serve the person wearing it, not just the occasion. When a woman feels comfortable and confident, it elevates the entire event. That belief is at the core of this collection.
Fashion should serve the person wearing it, not just the occasion. When a woman feels comfortable and confident, it elevates the entire event. That belief is at the core of this collection.
Your work today feels more restrained and intentional. Has restraint become a creative strength?
Restraint has come naturally over time. I move from one project to another because the brand must keep evolving and speaking through its products. But when you’re creating a special piece for a client, you collaborate with many people—it’s not about intentional restraint, it’s restraint by default.
I’m a solo brand without investor backing, by choice. While the brand has grown organically and carries a certain enigma, scaling up brings a different kind of structure and responsibility.
Does your background in cinema influence how you design for real women?
Absolutely. Whether it’s cinema or bridal couture, you work with a persona. You understand the woman’s character, her likes, dislikes, how she carries herself. In films, you build a character from a script; with clients, you build it through conversation.
Your latest collection balances structure with fluidity. Was that challenging?
Not really. It’s a philosophy I’ve worked with for years. Fashion is cyclical, and this collection revisits structured silhouettes with flow, romance, and lace—techniques we’ve used before, but reinterpreted with a fresh perspective.
Do these design choices reflect the women of today?
Very much so. Today’s women want structure, comfort, and sustainability. The garments may look dramatic on the hanger, but when worn, they feel effortless—almost like a second skin.
You’ve dressed some of Indian cinema’smost iconic women. How has your idea of power dressing evolved?
Power dressing today is no longer a formula. It reflects women who are genuinely in positions of power. It’s about confidence, comfort, and authenticity rather than just appearance.
What excites you about collaborating with fashion students and institutions?
I’ve been teaching fashion for 38 years. I believe in dialogue—understanding students’ passions, fears, and dreams. I learn as much from them as they learn from me. Understanding Gen Z is essential; they are future clients and collaborators.
Do you prefer cinema’s fast pace or fashion’s quieter rhythm today?
I enjoy speed and spectacle. I work across cinema, couture, and teaching. If I don’t have an 18-hour workday, I feel lost.
Are you currently working on film projects?
I’ve just completed a project with Andhra Pradesh’s Deputy Chief Minister, Pawan Kalyan, and I’m in talks for two more films. Cinema is my lifeline.
If this fashion showcase were a film, what genre would it be?
Mainstream fashion with a strong Bollywood influence—that’s who I am.
Why did you choose Vaani Kapoor as the showstopper?
I wanted to end the show with something spectacular and unconventional. Vaani felt like the perfect fit for that vision.
— manuvipin@newindianexpress.com
@ManuVipin
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