Renowned designer Abhishek Sharma’s latest couture collection, Ratiaranya, was recently showcased at his first independent solo couture show in Delhi, and it bowled over the spectators with its poetic exploration of desire, nature, and awakening. Rooted in the essence of Rati, the goddess of love, the collection depicts the quiet transition between spirit and body, expressed through exquisite couture outfits. The colour palette moves through musk wood, midnight blue, rose petal, honey-dipped grape, kajal, morning sun, and skin hues, creating a sensorial landscape that saunters from the stillness of the night to the break of dawn.
The silhouettes are designed to complement the natural body contour, with fluid saris, soft drapes, hourglass mermaid gowns, power shoulders eased with movement, exaggerated collars, and vintage flares stealing the spotlight. Masculine structures meld with feminine fluidity, blurring boundaries and celebrating freedom of expression.
There is a distinct display of craftsmanship in fine metal wirework, 3D sculpting, resham embroidery, appliqué, beading, pleating, textured surfaces, and natural prints. Crystals, stones, and fringes headline the designs.
“Ratiaranya is an ode to the playfulness of a child, the thrill of first love, and the completeness of awakening at dawn,” says Abhishek, who takes us through the same.
What’s the idea behind the collection?
The title Ratiaranya comes from the essence of Rati — the goddess of desire — and aranya, which evokes the forest. To me, it is a space where desire is not loud or performative; it is quiet, pure, and deeply human. The collection sits in that transition between spirit and body — between what you feel and what you show. At its core, it is about connection, not just the romantic one, but the way we connect to ourselves, to nature, to memory, and to awakening. I kept returning to the idea of dawn — the moment after the darkest hour, when you feel as if you are meeting yourself again. That is the emotional spine of Ratiaranya.
This is your first solo show of couture collection. What took you so long?
Honestly, I did not want to do couture just because the word “couture” exists. I wanted to do it when my technique, my team, and my emotional language were ready. Couture is not a category to me; it is a responsibility. If you are going to call something couture, it has to justify the time, the craft, the detail, and the honesty of the hand behind it. What makes my couture different is that I do not chase “pretty.” I chase feeling. I want the garment to hold an atmosphere — through texture, form, and surface. I also like couture that has tension: structure with softness, romance with edge, femininity with strength. I am obsessive about surfaces because I believe couture is often decided in the last leg of creation, which includes the finish, the layering, the weight, and the movement. I am also interested in couture as an experience. I want people to remember how it made them feel, not just how it looked in a photograph.
With so much luxe prêt doing the rounds, does it dilute couture value? What are the markers of a good couture piece?
Luxe prêt does not dilute couture; confusion does. When everything is called couture, couture stops meaning anything. Luxe prêt has its place — it is more accessible, it moves faster, and it serves a lifestyle. Couture is different: it is slow, labour-intensive, often personalised, and built with a level of craftsmanship that is not designed for mass repetition. For me, the markers of good couture are very clear: construction and fit, handwork quality, surface integrity, movement, time, originality, and longevity.
Tell us about your journey so far. What learnings have you picked up?
My journey has been a long education in patience. Fashion teaches you that ideas are cheap and execution is everything. I have learned how much discipline it takes to maintain a signature without repeating yourself. A big learning has been team-building, because couture is never a solo act. It is hands, time, training, and trust. I have also learned the importance of being decisive. In design, too many choices can dilute a collection. I have become more ruthless about editing — if it does not serve the narrative, it does not belong. And personally, I have learned to stop designing for approval. The more honest I get with my work, the stronger it becomes.
What inspires you and your designs?
Nature is a constant inspiration, but not in an obvious way. I am inspired by how nature layers, repeats, erodes, and transforms. I am also inspired by emotions like first love, longing, calmness, and awakening — the kind of quiet intimacy people rarely speak about. Cinema influences me a lot, be it light, shadow, pace, or silence. I also find inspiration in contrasts like masculine/feminine, structure/fluidity, and drama/restraint. And then there is craft itself — the moment a technique surprises you, you build a story around it.
What are your plans for the label?
The focus is to build a stronger couture ecosystem, more refined craftsmanship, more experimentation with surface, and a more global-facing design language without losing Indian soul. I also want the brand to be more intentional about storytelling through films, editorial projects, and experiences that extend beyond the garment. Couture is not just a product; it is a world. Over the next year, we will be strengthening private client relationships, curating sharper capsule drops, and expanding men’s couture thoughtfully.
What are some winter party and occasion wardrobe must-haves?
Winter dressing should feel rich and effortless. My top must-haves include a structured statement jacket, a draped sari or gown with textural detail, a sharp-shoulder blazer with a softer underlayer, a deep-toned metallic like antique gold, gunmetal, or burnished copper, and statement accessories that look heirloom-adjacent: cuffs and layered neckpieces. Most importantly, there should be one piece with craft you can see up close, like pleats, appliqué, wirework, and hand-placed embellishment. That is what photographs beautifully at night.
What are the fashion trends for 2026?
Emerging trends in 2026 include tactile couture surfaces like 3D textures, sculpted elements, and appliqué work that reads like art. Gender-fluid construction and mood palettes such as forest tones, mineral tones, and skin tones will also rule. Neo-couture will emerge. Trends that will stay include quiet luxury, tailoring, and texture-first dressing. Vintage silhouettes like flares, corsetry-inspired shaping, old-Hollywood lines, and embellishments will make a comeback.
Tell us about the outline of your upcoming SS ’26 collection.
SS26 for me will be about lightness — both in mood and construction. I am interested in building surfaces that feel airy but still intricate, and silhouettes that feel freer and less “held.” Expect softer palettes, more breathable textures, and a continuation of the idea of movement — how fabric behaves when the weather changes, when the body moves faster, and when the mood becomes brighter. It will still carry my signature of craft and contour — but with a more open, sunlit energy compared to Ratiaranya’s night-to-dawn narrative.
Who are the best dressed male and female celebs in your eyes — and why?
For me, true style is timeless, not trend-driven. Maharani Gayatri Devi remains the ultimate reference for impeccable dressing. Her elegance was effortless and instinctive, and she understood proportion, restraint, and the power of simplicity long before quiet luxury became a phrase. Whether it was a crisp chiffon sari or tailored silhouettes, her style never tried to impress; it simply was. That kind of confidence and clarity is rare and deeply inspiring. On the menswear front, Maharaja Sawai Padmanabh Singh embodies a similar philosophy. His style is rooted in heritage, yet feels entirely contemporary. There is an ease in the way he wears tradition — for example, structured garments softened by lived-in elegance. Nothing feels forced or styled for effect. It is personal, authentic, and grounded in identity, which is what real luxury looks like to me. Both represent a kind of dressing that does not chase attention — it commands it quietly.