Vikram Phadnis reflects on his 35-year journey while giving a peek into his new collection, Ananta!

He was the choreographer who dared to trade the stage for the drawing board, a self-taught maestro who didn’t just join the Indian fashion world — he willed his way into its heart. In the narrative of modern Indian couture, Vikram Phadnis stands as a magnificent paradox: a veteran designer whose three-decade journey proves that the most beautiful garments are often those cut from an unverified pattern. His origin story is devoid of the predictable academic pedigree, making his ascent all the more compelling.

As a celebrated choreographer, his career demanded an innate understanding of silhouette, drama and how fabric moves under the spotlight. This background gifted him a lens no design school could offer: he didn’t learn to make clothes for mannequins; he learned to dress moments.

“I was originally a science student, studying medicine. Naturally, since my parents are doctors, it was assumed they would want their children to follow them into the medical field. But my time in fashion choreography instilled in me a deep sense of discipline, an essential quality when you’re coordinating models, stage, lighting and sound. I carried that same discipline into my work as a designer, because I believe that design, too, demands precision, structure and focus,” Vikram begins.

This lack of formal training, which could have been a hurdle, became his superpower, shaping a fiercely independent, intuitive design language. His creative process was less about theory and more about an unadulterated passion for texture and colour. He built his legacy in a nascent era of Indian high fashion, where sheer conviction and innate talent were the only currency.

“However, the reason I did not pursue formal training in fashion was purely due to a lack of time. I had already reached a stage where undertaking a five-year course was no longer a viable option. Gaining admission to a fashion college and then studying fashion for five years was simply not on the cards. But I always knew that, even during my choreography days, when I was observing fabrics, textures and embroideries, I had a genuine flair for it. I felt it was inherent in me to create clothes and other such pieces. In none of my professional journeys — be it fashion choreography, design or films — have I undertaken any formal training under anyone,” the designer tells us.

To speak of Vikram Phadnis is to inevitably invoke the golden age of Bollywood. For years, he has been the invisible hand guiding the visual identity of Indian cinema’s biggest stars, having contributed to more than 25 films. “Every stage of my career has presented its own struggles and its own victories. Each achievement was celebrated and a new target was immediately set,” he notes.

From the uniform aesthetics of Singham and the award-winning Mujhse Shaadi Karogi, to the playful aesthetics of the Golmaal franchise and the glamour of projects like Namastey London and Aitraaz, he possessed the unique ability to inject his rich Indian sensibility into the pulse of a film’s narrative.

“I’ve worked on some fantastic films: Biwi No 1, Dulhan Hum Le Jayenge, Tere Naam, Mujhse Shaadi Karogi, Salaam-eIshq, Aitraaz and Humraaz, among others. I’ve had the opportunity to work with some truly great artistes and contribute to films that, in terms of costumes and audience appreciation, will hold a place in cinema history. But I think Salaam-eIshq gave me the greatest creative satisfaction, as it featured twelve principal characters along with a large secondary cast. I designed ensembles for the entire film — nearly one and a half thousand costumes in total — including looks for Salman Khan, Priyanka Chopra Jonas, John Abraham, Vidya Balan, Anil Kapoor, Juhi Chawla and Govinda, as well as the character artistes and dancers. It was an enormous volume of work,” he recalls.

Yet, his connection to the film world extends beyond glamour. Actor Salman Khan’s early patronage provided a crucial anchor, a heartfelt detail that grounds his success in genuine human relationships.

“The man who truly made me, I won’t just say helped me, the man who gave me my professional identity was Salman (Khan). He was like an angel who dropped into my life from nowhere and he opened all the doors for me in this industry. I began to be taken far more seriously as a designer once he hired me. I believe that relationship, which grew throughout my days of costume design until I eventually gave it up, marked a landmark change in my life,” the couturier smiles.

The self-assured leap from styling to selling demanded a name that could embody his opulent vision, culminating in the creation of his eponymous label. His collections became anticipated fixtures on the ramps of global and national fashion weeks — from the prestigious Lakmé Fashion Week to Dubai Fashion Week — where he meticulously distilled the dramatic flair of Bollywood into wearable couture.

“I have an open mind when it comes to reinventing and restructuring what my brand represents. I might create a prêt line one season and a couture line another. I’m not stuck in a box, nor is my mind closed to the realities of the market’s demand and supply. I think this willingness to constantly revamp and reinvent is what has allowed both me and my brand to keep going. I focused on making the language more direct and fluent while keeping the core message about being flexible, having an open mind and adapting to the market,” the designer elucidates.

This October, designer Vikram Phadnis marks 35 years in fashion with a special showcase of his new collection, Ananta. It is a dialogue between the past and present, between tradition and the evolving spirit of how India dresses today. The collection speaks to the needs of the season, offering pieces that are well-suited for festivities and grand Indian weddings!

“Ananta means infinite and with this collection, I plan to showcase several archival pieces that I have created over the years, naturally revamping them into a different style and format. The collection features a strong foundation of muted, earthy tones, blacks and ivories and I’ll close the show with deep reds and maroons. The clothing incorporates modern, contemporary work alongside traditional aari, threadwork and zardosi elements. We began working on this five months ago, guided by a vision board that represented a fusion of vintage style with a modern interpretation of my entire experience in fashion. In terms of silhouette, you will definitely see lehengas, varied versions of saris and capes — which are structured yet fluid,” he gives us a glimpse.

Mark your calendars, as Vikram will preview his new collection to the world with an exclusive event next week on October 14 in Mumbai. “Ananta will celebrate my 35-year journey in the industry and the preview show will have a strong vintage element as the whole idea is to turn back the clock and revisit some of my past work. The show will be a major presentation, including 100 models, as we are showcasing both men’s and women’s wear. We have invited people who have been a vital part of my 35-year journey, from where I began to where I am today. The entire event carries a sense of drama built around the show. More than anything, I am simply looking forward to it being a fun night, with the audience feeling like a large gathering of friends and well-wishers,” the designer reveals.

Perhaps the most inspiring facet of Vikram’s ongoing journey is his courage to pivot. In an industry where designers often become confined to their established empire, he embraced the entirely new challenge of filmmaking. His directorial Marathi films Hrudayantar (2017) and Smile Please (2019) received critical acclaim and the latter even won the 57th Maharashtra State Film Award.

The script for Smile Please was inspired by the journey and experience of director Vikram Phadnis’ mother, particularly her struggle with dementia. The film explores the personal and emotional impact of the disease on the individual and their family, with a focus on the protagonist’s condition and her family’s response.

In a beautiful, full-circle moment, Vikram is all set to remake Smile Please in Hindi, marking his directorial debut in Bollywood!

“Life’s come full circle. I’m currently working on a remake of my last Marathi film, Smile Please, for which I won a state award. This new project will mark my directorial debut in Hindi cinema. I have already made my directorial debut in regional cinema and I am very much looking forward to this, as it represents a new chapter and a fresh perspective on life,” he signs off.

Ananta will hit stores soon.

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