Celebrated Couturier JJ Valaya, among a handful of names who have given shape to the Indian fashion industry, has had an adventurous ride these past two years—from collaborating with Oscar-winning costume designer Ruth E Carter for the Eddie Murphy film Coming to America to taking to the online medium through virtual shows and launching his e-store. Valaya, who took a sabbatical from 2017 to 2019, is no stranger to reinvention and adapting to change.
The designer recently announced the launch of his bridge-to-luxury line JJV which will feature modern and experimental silhouettes made from Tencel Luxe filament yarn. He also just unveiled his Spring Summer 2022 couture collection, Rumeli—A Summer Saga. Rumelia, a region in the Balkans, which was conquered by the Ottoman Empire, has a rich and colourful history.
It covers parts of present-day Serbia, Greece, Bulgaria, Macedonia, European Turkey, and Albania. It is from the art and craft of this region that Valaya takes inspiration for the collection—a summer-appropriate extension of his Fall ’21 drop of the same name.
Known for his affinity for the culture and history attached to the silk and spice routes and his idea of what he calls ‘the royal nomad’, Rumeli comprises garments crafted from a combination of dupion, georgette, organza silks, and silk blends. Valaya, who completes three decades in the industry this year, talks to us about his current work, his flagship store which is set to open at Delhi’s Aerocity, the changes he has seen in the last 30 years and his thoughts on the brides of today.
Tell us a little about Rumeli.
This is our third collection inspired by Ottoman culture after Azrak and Bursa. It is a continuation of our Fall Festive collection. I was interested in how the Ottomans spread their empire across the world. So we have used motifs, colours, and patterns that are inspired by that era. We have worked primarily with silks and silk blends. The embellishments have been created with antiquated metal, sequins, beads, metallic threads, flat-beaten metal sheets, silk threads, crystals, and more.
Is there anything you have done differently in this collection?
With luxury brands, the game is more about evolving than doing things differently. Otherwise, you’re just running the rat race, where you are pressurised into producing for the sake of it. We have evolved through the past three decades. And I’m as excited as I was in the beginning about my work. In 2017, when I took a sabbatical, it was because it no longer excited me.
The industry was becoming boring. Everyone was doing the same thing. I remember going to a show of another designer and I could see from where I was sitting that there was no attention given to the finishing and there were threads dangling from the garments. It all got a little too much. I had to realign my outlook, regroup and then start again.
In what ways have you evolved in the past 30 years?
Fashion is a visual medium. We are evolving, creating new techniques, our prints are becoming stronger and we’re looking at ways to innovate.
What do you think needs to change in the industry?
What needs a makeover is the pride for our craft and heritage. We have no shortage of talent, but I think we’ve got a bit of a ‘gora’ hangover.
You don’t see Gucci and Chanel making saris and lehengas. These are brands that honour their heritage and where they come from. In India, yes, we make beautiful clothes, but they’re not Indian garments. I wish more youngsters would focus on clothes that are relevant to India.