Couturier JJ Valaya is one of those gifted couturiers who possess an innate ability to translate their thoughts into intricately designed maximalist pieces that one cherishes for a lifetime. The opulent designer closed this year’s FDCI’s Hyundai India Couture Week 2025, in association with Reliance Brands, with his stunning new couture collection called East. This well-put-together collection takes the wearer through a royal nomadic journey through time, culture, and couture. Set against the backdrop of the 17th and 18th centuries, East draws inspiration from a time when the West viewed the Orient as a realm of mystery, opulence, and spiritual richness. The collection has three evocative chapters, including the layered romance of the Balkans, the tranquil refinement of the Far East, and the grandeur of India, and features a rich palette of antique neutrals, spice hues, and deep bridal reds, rendered in luxurious fabrics like silks, velvets, brocades, tulle, and organza. Featuring intricate work in silhouettes for both men and women, the ensembles embody JJ Valaya’s architectural precision and couture detailing. “East is my ode to a time when the Orient evoked wonder and fascination across the world,” says JJ Valaya, as he sits with Indulge for a chat.
Take us through the details of the collection East.
Well, East is a journey. It starts in the Balkans, moves into the Far East, and finally settles in India. So, the collection draws from these regions, but of course, interpreted in our own Valaya language. You’ll see a lot of rich textiles like velvets, silks and brocades, and there’s embroidery, of course, done in a way that feels layered, detailed, not overdone. The colours range from muted neutrals to deep jewel tones to my favourite palette, black and ivory. The silhouettes, again, we’ve kept timeless. There’s the Alika Jackets, which has now become something of a signature, and this season we’re also presenting something I’m very excited about — a couture version of the Chevron, in the form of a lehenga. That’s a first. So yes, it’s familiar, but it’s new.
What’s the idea behind this collection?
This collection was sparked by an 18th-century perception of the East by the West. Back then, they romanticised this part of the world, saw it as mysterious, secretive, spiritual, and some of that still holds. So, the idea was, what if we relooked at how they imagined us, and then told that story through our lens? So, we go from the Balkans to the Far East and conclude with India. Along the way, we pick up motifs, textures, and inspirations and reinterpret them instead of replicating. That’s very important to me because inspiration has to be personal, not performative.
How is this collection different from your previous works?
Every collection is both a continuation and a new beginning. The core remains the same. I’m still a maximalist, I still believe in storytelling, I still go deep into research before I start, but the way it manifests is different each time. With East, I’d say there’s more calmness. There’s quiet confidence in some pieces. It’s not always about loud drama. It’s also about subtle layering, poetic detailing, and silhouettes that breathe. And I think that’s the evolution. You still tell a story, but you don’t have to shout.
Over the years, how much has your design aesthetic and creativity been affected by experience, and how much have you changed or evolved as a designer?
Oh, hugely. When I started, I was completely obsessed with ivory and cream. I thought I’d only be working with neutrals my entire life. But then I discovered colours, and I discovered India all over again. Even now, I keep discovering as I keep evolving, growing, and consequently learning restraint. You learn that some stories need silence, while others need noise. And all of it is beautiful. My creative process still begins with two months of research — mood boards, references, old paintings, motifs —because that’s what feeds the soul of the collection. But I’ve learnt to trust my instincts a lot more now. So yes, one evolves, but the essence and the language remain.
How much has modern couture culture evolved in India?
I think couture in India is at a very interesting place now. Earlier, it was all about bridal, wedding wear, and opulence. And that’s still there because that’s who we are. India is not a minimalist country. Look at our food, our temples, our festivals — there’s nothing minimalist about any of it. But now, the brides and grooms are asking different questions. They want pieces that feel like them; they want comfort and craftsmanship. Also, they want it to feel timeless, not just trendy. So, couture has become more intimate. It’s not just spectacle, it’s personal, and that’s beautiful.
When it comes to red carpet looks, where do Indian celebrities stand today?
We’ve come a long way. Today’s celebrities understand styling. They understand the mood. And more importantly, many of them are finally celebrating India. They are not just wearing a sari, but they are wearing it with intent, too. The red carpet today isn’t just about dazzle. It’s about storytelling, and I think Indian celebrities who get that, who understand craft, silhouette, and presence, really stand out. There’s still room to grow, of course. But the shift is happening, and that’s exciting.
What’s the offering from couture and JJV Kapurthala for the upcoming wedding season?
From couture, it’s about statement pieces that are regal, rooted, luxurious, and wearable. Because no matter how beautiful something is, if the bride and groom doesn’t feel like themselves in it, it’s not worth it. So, you’ll see lehengas, sherwanis, jackets, stoles — crafted over months, built to last, meant to be remembered. From JJV Kapurthala, the offering is lighter and more playful. They are great for pre-wedding events, destination functions and even modern cocktail nights. The silhouettes are tailored, often layered, and versatile. So, between the two lines, there’s something for every moment.
What are some wedding wardrobe must-haves for brides and grooms?
For the bride, I always say at least one piece that feels like an heirloom. Something timeless. Then have one thing that feels like your personality. It could be a jacket, a silhouette, a colour — whatever makes you feel most like you. For the groom, a sharply tailored bandhgala, a beautifully draped stole, and at least one classic sherwani. But also, don’t forget the details — buttons, belts, and turbans. They seem less important, but they finish the story.
What other collections are you working on in both prêt and couture?
The mind never stops. I’ve already begun research for the next collection, but it’s too early to speak of that. With JJV Kapurthala, we’re exploring new colour stories, some Indo-deco prints and silhouettes that can travel. I’ve always believed that a collection is not just about clothes. It’s about a mood, a moment, a message. So yes, something is always brewing.
Do we also see your label diversifying into high jewellery or interiors like other couturiers?
We already have. Valaya Home is our interiors label. It’s a space I deeply love because it allows me to think beyond the body — about how people live, how they surround themselves with beauty. As for high jewellery, well, never say never. But it has to come from the right place. I’m not someone who creates just for the sake of expansion. Everything I do has to come from a deep, honest space. And if the time is right, it will happen.