What makes a festive outfit truly special? Is it the shimmer, the silhouette or the sheer number of hours that go into creating it? For designer Nachiket Barve, it is a little of everything, but the real magic lies in the craftsmanship and the thought behind every detail.
His recent creations for Karisma Kapoor and Sonali Bendre embody this philosophy. Both actresses opted for black ensembles designed by him, with Sonali’s saree taking nearly 3,200 hours to craft and Karishma’s intricately embroidered outfit requiring approximately 3,000 hours. Yet, despite the painstaking workmanship, the garments are remarkably lightweight and versatile. In an exclusive conversation with CE, the designer opens up about the art of making craftsmanship relevant, the changing language of festive fashion, Hyderabad’s discerning consumers and his plans for the future.
For him, the starting point of any festive creation is India’s extraordinary craft heritage. He shares, “For me, the whole idea of festive fashion is celebration of craftsmanship. We have a huge treasure chest of what India, as a culture, offers and the kind of craftsmanship we possess. I think the idea of trends and fads is becoming outdated. Customers today are looking at pieces that become investments in their wardrobes — something they can wear in multiple ways and that will outlast seasons.”
Black, once considered unconventional for Indian weddings, has also found its place in festive wardrobes. Nachiket sees this as part of a larger shift in how people approach celebrations. “There was a time when both black and white were considered taboos for weddings. Today, those old dictates have largely melted away, particularly when it comes to wedding guests. We even see brides and grooms choosing black cocktail outfits with metallic elements,” he says.
His association with Sonali and Karisma spans nearly two decades, giving him an understanding of how their preferences and styles have evolved. That familiarity also informs how he approaches dressing them. “The idea is not simply to create a striking red-carpet moment but to make the clothes work beyond it. Karisma’s skirt, for instance, can be teamed with a crisp white shirt and diamonds, while its blouse can be paired with black palazzos. Sonali’s saree can be styled with a jacket or a brocade blouse, while the blouse itself can be worn with a tissue saree. When you design for real people, you become sensitive to how clothes fit the body and, more importantly, how they make the person feel,” he explains.
But what makes the two recent creations particularly remarkable is the craftsmanship hidden within their intricate surfaces. His design vocabulary is rooted in abstraction, with natural elements rarely interpreted literally. “Karisma’s skirt, for instance, features six or seven varieties of flowers inspired by nature but rendered in an Art Nouveau style. Nearly 12 embroidery techniques, including beading, sequins, threadwork, cutwork, appliqué and zari, come together in the piece. Sonali’s saree, meanwhile, draws inspiration from Japanese prismatism and fireworks. Its mixed-metal detailing is a deliberate design choice, allowing it to complement everything from rose gold and yellow gold to platinum, diamonds, polki and rubies. The idea is to give the wearer the freedom to experiment with styling and jewellery,” he notes.
For Nachiket, however, intricate craftsmanship should never come at the cost of comfort. He believes, “Modern designers must reinterpret traditional techniques instead of simply reproducing the past. This also means working closely with artisans to discover ways of making elaborate embroidery lighter, more efficient and wearable.”
When it comes to building a festive wardrobe, his advice is refreshingly uncomplicated: invest thoughtfully and make room for individuality. That emphasis is also reflected in one of his most cherished creations — a jacket that brings together different chapters of his 19-year journey as a designer. It features embroidery inspired by his debut show, the label’s signature roses and Merino wool felt, a project for which he won the Woolmark Prize. Involving thousands of hours of embroidery, the piece is, for him, a celebration of Indian craftsmanship expressed through a contemporary vocabulary.
Nachiket also finds Hyderabad an interesting market, particularly because of the city’s long-standing appreciation for luxury and celebrations. “Social media and the internet have made fashion more accessible, removing geographical boundaries between consumers and designers. Whether it is Hyderabad or Chennai, I think people have a very sophisticated taste. They are discerning customers who appreciate garments up close and understand their beauty and technique, rather than dressing only for an audience,” he observes.
Looking ahead, he has recently introduced a modern occasion-wear capsule and hopes to expand the line to explore more festive and wedding celebrations, including cocktail and sangeet dressing. His Mumbai flagship store is already operational, with Delhi being considered for next year. He is also keen to build a pool of craftspeople who can nurture, protect and develop traditional techniques for future generations, an effort he believes needs support at a larger policy level as well.
Costume design remains another creative avenue, with projects involving Jaya Bachchan and a biopic on V Shantaram in the pipeline. A Hyderabad flagship store is also a possibility, although the designer is waiting for the right collaborator who understands the city and shares the brand’s sensibility. “Hyderabad is a city with great taste and very warm people. There is an appetite and openness to experiencing new things. I just believe it has to be done in the right way, so that it becomes a win-win match rather than rushing into something,” he signs off.