Tarun Tahiliani: “Designers being whimsical is a misconception”
The celebrated couturier on his book, Journey to India Modern, his pet peeves, fashion trends, and the importance of sustainable fashion
When singer-songwriter Lady Gaga made her maiden visit to India in 2011 to perform at the Formula 1 Grand Prix after party, all eyes were on her wardrobe. Gaga’s meat dress at the 2010 Video Music Awards and her egg costume at the 2011 Grammys had already made her a major force in the fashion world. Between shopping at Dilli Haat and partying with Bollywood royalty, she was sent a number of outfits from Tarun Tahiliani’s collection. Pushing aside the dresses she was carrying for the show, she chose an ethereal white saree with Swarovski crystals for her performance. The following year, American talk show host Oprah Winfrey, also on her maiden India visit, followed suit and wore a signature Tarun Tahiliani saree. A decade later, Gigi Hadid and Zendaya too wore custom TT sarees as they walked the red carpet at the NMACC (Nita and Mukesh Ambani Cultural Centre). But by 2023, seeing American celebs wear Tahiliani had become commonplace. The Delhi-born fashion designer, whose eponymous label is the go-to choice for the who’s who of Hollywood and is also seen at every Bollywood wedding, co-founded designer boutique Ensemble in 1987.
What does a day in the life of TT look like?
My daily routine follows a structured pattern. I wake up at 5:45 am and attend a 7:00 am class before heading to the studio by 7:30 am. Mornings are dedicated to design work, while afternoons focus on administrative and marketing tasks. I aim to finish by 5:30 pm to fit in a workout and avoid rush hour traffic. Evenings are spent working from my home office, striking a balance between work and personal life.
What is your biggest pet peeve as a designer?
My biggest pet peeve as a designer is the rampant replication of our work and the frequent misinterpretation of our intentions. There’s a misconception about designers being whimsical, but in reality, our profession demands constant reinvention and innovation, making it one of the most challenging yet rewarding endeavours.
Is there any fashion trend which you just aren’t a fan of/a fashion trend which you feel was way ahead of its time?
I’ve never been a huge fan of blonde hair; it doesn’t always complement every individual, especially when paired with vibrant colours. Another trend I find challenging is the bralette trend. While it has its appeal, I believe it’s best worn with a sheer fabric overlay, adding a touch of sophistication. On the contrary, one trend I believe was ahead of its time is the Embroidered Petticoat with various saree variants, which emerged 20 to 25 years ago. At the time, I felt India wasn’t quite ready for its avant-garde charm.
In the second season of Made in Heaven, some of your designs were used and attributed to a fictional designer. Your comments on that.
The use of my designs [in the second season of Made in Heaven] reflects the influence and recognition of Indian fashion on a global platform. While it’s flattering to see my designs showcased in popular media, it’s essential to acknowledge and credit the creative contributions of designers accurately.
What are your views on Bollywood aping the West in their sartorial choices?
It is a reflection of evolving fashion preferences and global influences. While some may view it as a form of imitation, I believe it also demonstrates the dynamic nature of fashion and cultural exchange. However, I encourage Bollywood to celebrate and promote Indian textiles, craftsmanship, and design aesthetics to showcase the richness of our heritage on the global stage.
What are some of the biggest takeaways from your book that aspiring fashion students can look forward to?
They can gain insights into the significance of draping forms in fashion design, the exploration of India’s rich sartorial heritage, the importance of craftsmanship and attention to detail, and the potential for innovation while staying rooted in tradition. Additionally, they can learn about the process of curating a fashion narrative that goes beyond celebrity culture to focus on the artistry and cultural context of fashion.
What does the term “India Modern” mean? Is it a central theme in your book?
The term “India Modern” encapsulates a vision of India that blends traditional elements with contemporary sensibilities. It signifies a balance between past and present, where cultural heritage meets modern lifestyles. In my book, “India Modern” serves as a central theme, reflecting the evolution of Indian fashion and the fusion of traditional craftsmanship with innovative design concepts.
As a couturier, how important do you feel it is to empower the artisans, pay them a fair living wage and ensure that their working conditions are favourable?
It is imperative to empower artisans. Artisans are the backbone of the fashion industry, and their craftsmanship is integral to preserving India’s cultural legacy. By supporting artisans, we not only ensure the sustainability of traditional crafts but also contribute to the socio-economic well-being of communities.
Lastly, there has been some conversation off-late on sustainable fashion. How important is it for the future of our planet?
As designers, we have a responsibility to minimize our environmental impact, promote ethical practices, and prioritize sustainability throughout the supply chain. By embracing eco-friendly materials, reducing waste, and supporting fair labour practices, we can contribute to a more sustainable and ethical fashion industry that preserves resources for future generations.
Deepansh Duggal writes on art and culture. He tweets at Deepansh75.