Designer Gaurav Gupta dominated global runways and red carpets this year with his futuristic silhouettes. At the Met Gala, Isha Ambani Piramal made headlines in his custom gold tissue sari gown, while Janelle Monáe wore a sculpted, flame-like creation to the after-party. Taraji P Henson attended Paris Couture Week in a dramatic hooded gown, Ginnifer Goodwin chose one of his designs for the Oscars, and Nicole Scherzinger wore a custom electric blue ensemble for the FIFA World Cup 2026 Closing Ceremony. In Mumbai, Ananya Panday walked as the showstopper for his Light Song couture presentation, with many Bollywood stars in the front row. The collection, which has become one of the defining moments in the house’s journey this year, also marks a significant creative milestone for the designer.
The bridal finale that tested Gaurav Gupta’s atelier
Gaurav describes Light Song as his most ambitious collection to date. It draws from Indian philosophy to explore the interplay of lunar and solar energies. Crafted over nine months by more than 200 artisans, the collection combines innovative textile development with extraordinary handcraft while extending the house’s creative vision beyond fashion through couture editions of the MG M9 and MG Cyberster. In this conversation, Gaurav reflects on two decades of evolution, global ambitions, craftsmanship, and why curiosity continues to shape every new chapter of his house.
Twenty years ago, you were seen as the enfant terrible of Indian couture. Today, you’re one of the country’s most globally recognised designers. What has surprised you most about your own evolution?
What has surprised me most is that curiosity has remained stronger than certainty. When I started, I was driven by the desire to challenge conventions. Today, I feel equally driven, but with greater patience and purpose. I’ve realised that building a house is not about constantly reinventing yourself; it’s about discovering your own language and allowing it to evolve over time. The questions have changed, but the curiosity remains the same.
Your work has always challenged conventional ideas of Indian bridalwear. Do you think the Indian couture client has finally caught up with your vision, or are you still designing ahead of your audience?
Today’s bride is far more confident in expressing her individuality than she was a decade ago. She isn’t looking to fit into tradition; she’s looking to reinterpret it. That gives us the freedom to push craftsmanship, silhouettes and textiles while remaining deeply connected to ceremony and emotion
I don’t think of it as anyone catching up. Fashion is a dialogue, and both the designer and the client evolve together. Today’s bride is far more confident in expressing her individuality than she was a decade ago. She isn’t looking to fit into tradition; she’s looking to reinterpret it. That gives us the freedom to push craftsmanship, silhouettes and textiles while remaining deeply connected to ceremony and emotion.
After showing in Paris, why was it important for this collection to debut in Mumbai? Was this an emotional decision, a strategic one, or both?
It was certainly both. Light Song is deeply rooted in Indian philosophy and craftsmanship, so it felt important for the collection to be experienced in India. Mumbai has an incredible creative energy. It is ambitious, dynamic and deeply connected to culture. Presenting the collection here was also a way of celebrating the artisans whose hands bring these ideas to life. There couldn’t have been a more meaningful place for this story to unfold.
The philosophy shaped every design decision. Lunar garments became softer and more fluid, with reflective surfaces, sculpted lace ,and delicate hand-cut petals that captured light in subtle ways. Solar moved towards richer textures, metallic brocades and molten crystal embroideries that radiated warmth and energy. Even the way the garments moved was considered. One chapter reflects light quietly, while the other almost emits it
The collection moves from lunar to solar energies. How did that translate into the actual construction of the garments?
The philosophy shaped every design decision. Lunar garments became softer and more fluid, with reflective surfaces, sculpted lace ,and delicate hand-cut petals that captured light in subtle ways. Solar moved towards richer textures, metallic brocades and molten crystal embroideries that radiated warmth and energy. Even the way the garments moved was considered. One chapter reflects light quietly, while the other almost emits it.
Which look in the collection challenged your atelier the most, and why?
The bridal finale was undoubtedly one of the most demanding. It featured over 5,000 individually hand-cut fabric Camellia petals, each carefully shaped and layered to create a sculptural floral surface. At the same time, we developed custom jacquard brocades woven with Pegasus and fantasy-inspired motifs. Both required months of experimentation and extraordinary precision, but they also represent the kind of innovation that keeps couture alive.
Your work often appears almost gravity-defying. Was there a new technique or innovation your team developed for this collection?
This season, our innovation was less about engineering dramatic silhouettes and more about advancing the language of textiles. We developed custom jacquard brocades, explored new approaches to embroidery engineering and expanded our surface development in ways we hadn’t attempted before. It reflects the evolution of the House. Innovation isn’t always about making something larger; sometimes it’s about making craftsmanship more intelligent.
Your collections often blur the line between fashion, art, and performance. Do you see yourself becoming more of a creative director than simply a couturier in the years ahead?
I’ve never really separated those disciplines. Whether I’m designing a garment, creating a runway experience or collaborating across different industries, I’m always telling the same story through different mediums. I see the role of a creative director as expanding the universe of the house while remaining true to its philosophy. That feels like a very natural evolution.
This collection explores the union of opposing energies. Did that theme emerge from a personal phase in your life or from a broader observation of the world today?
Perhaps both. As we grow, we realise that life isn’t about choosing one side over another. It’s about learning to hold different truths at the same time. That idea exists in Indian philosophy, but it also feels incredibly relevant today. We live in a world that often celebrates extremes. Light Song is really an invitation to embrace harmony instead.
Indian couture is increasingly competing on the global luxury stage. What still needs to change for Indian houses to be viewed alongside the biggest European maisons—not as alternatives, but as equals?
The talent and craftsmanship already exist. What we need is long-term investment in building enduring luxury houses rather than simply successful fashion brands. European maisons have spent generations creating cultural institutions. Indian fashion is now entering that phase. It’s not about seeking validation; it’s about consistently creating work that contributes to the global conversation while remaining unmistakably Indian.
With AI, digital fashion and wearable technology reshaping luxury, where do you see couture heading over the next decade, and how do you want your house to be part of that conversation?
Technology will undoubtedly change how we design, communicate and experience fashion, but it cannot replace the human hand or human emotion. Couture has always been about time, craftsmanship and individuality. I see technology as a tool that can enhance creativity, not replace it. The house will continue to embrace innovation while ensuring that craftsmanship remains at the centre of everything we create.
You’ve dressed everyone from global celebrities to Indian brides. Is there a dream project or creative collaboration you still haven’t realised?
I’m less interested in ticking names off a list than in creating collaborations that genuinely expand the language of the house. Whether that’s architecture, automotive design, furniture or large-scale installations, I’m excited by projects that allow couture to exist beyond clothing. The most meaningful collaborations are always the ones that challenge us to think differently.
—manuvipin@newindianexpress.com
@ManuVipin
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