Sabyasachi at 25: Back to the future

Bengal’s Spirit: “This is the first time I’ve created a collection where I… Sorry to say this, but I couldn’t care a f**k about opinions. As you grow older, you realise the only person you need to be kind to is yourself. There’s a Rumi quote I live by: ‘Sell your cleverness and buy bewilderment.’ This collection reflects who I am, not others’ expectations. It’s inspired by the ‘showcase’ found in Indian, particularly Bengali, homes—where everything meaningful is kept, a personal archive defined not by money, but by emotional value,” says Mukherjee. Pic Courtesy/Sunhill Sippy

Sabyasachi Mukherjee has lived many lives in fashion, constantly shifting direction in surprising ways. His work swings between contrasting ideas, often proposing new visions of India that contradict what came before. But behind the brand's bold face, there's a man who admits, "I'm a monster sometimes."

Mukherjee's approach to his craft is rooted in an obsessive need for control. "I hate myself for it, but the truth is, I can't help it," he admits. It's not just about the clothes - everything matters. From jewellery and accessories to hair, makeup, music, models, choreography, and styling, he micro-manages every detail of his runway shows. "I don't hire outside help because I want to maintain my vision. I'd rather tell one authentic story than a million that don't connect. It's all or nothing."

"I've always believed that not having money doesn't mean lacking standards. Growing up in Calcutta, my father never wore a shirt casually - everything had to be just right. There was no ‘casual' or ‘athleisure.' That discipline instilled a sense of dignity. The ‘pussy bow' symbolises propriety. I'm casual by nature, but I value decorum. For me, Sabyasachi isn't about perfection, but doing things properly, with care and attention," says Sabyasachi Mukherjee. Pic Courtesy/Dolly Devi

This relentless drive, this refusal to settle for anything less, has defined Mukherjee for over two decades. His singular focus: to place India at the forefront of global luxury. "India is not a third-world economy but a first-world civilisation," he says. "It is the birthplace of luxury, where it has always belonged."

After 25 years in fashion, Mukherjee knows exactly what he stands for: "A brand with unwavering purpose, fearlessness, and the ability to stand shoulder to shoulder with any other brand in the world." Sabyasachi, both the brand and the man, have become inseparable in their pursuit of global relevance. His Bengal tiger logo, once subtle, has found its roar, now strutting proudly and expansively across his entire universe, symbolising his expanding ambition.

"One of my favourite moments in Bengali fashion came from a Satyajit Ray film, Kanchenjungha, where a woman wears a saree with a coat over it. I later recreated that look on Sridevi in English Vinglish, and it reappeared in my show," says Mukherjee.

Fashion loves a showman, and the "Calcutta" couturier has made both the catwalk and social media his stage for dramatic presentations. For his 25th anniversary runway show in Mumbai on January 25, the expectation was a nostalgic celebration of his greatest hits. But by the end of the night, it was clear that middle age hasn't mellowed him enough to make it that obvious. "Retrospection brings the past into the present; introspection examines how it fits into today's world," Mukherjee explains. "I revisited every single one of my collections - Nair Sisters, Frog Princess, The Snail, Chand Bibi... They're all there, but modernised and reimagined for today."

Two days after the show, we sit down for an interview at his 25,862 sq. ft. retail and office space in Mumbai - a haven of decadence. The warmth of the dhoop wraps the air as Pehla Nasha from Jo Jeeta Wahi Sikander drifts through, like a whisper from another time. We're on the first floor of the high jewellery section, right beside the Madonna-inspired crucifix necklace worn by actor Deepika Padukone at his anniversary show.

Sabyasachi Mukherjee reflects on his post-show walk with Deepika Padukone and Christy Turlington: "They've reached the top with humility, confidence, and strength. Deepika, once a model, now an icon - icons like her aren't born every day." Pic Courtesy/Lodovico Colli Di Felizzano

At 50, on the cusp of turning 51, Mukherjee enters with the quiet confidence of someone who's shaped an entire industry. His blue shirt, slightly worn and shrunken, hangs loosely over his frame, paired with a brown cashmere shawl drawn over his shoulders like an afterthought. Faded blue jeans and sneakers somehow manage to look both relaxed and deliberate. It could almost be 2002 again, when a 25-year-old relatively unknown designer from Calcutta first showcased Kashgaar Bazaar at Lakme Fashion Week in Mumbai. The stride, once urgent, now carries an assured ease. Sparkling water is served first, followed by a steaming cup of Darjeeling tea, taken with just a spot of milk.

Mukherjee is a creator who has consistently anticipated the mood of the moment, designing pieces women didn't know they needed until they saw them on his runway or Instagram. The Sabyasachi brand, for example, is as much about bridal couture for Bollywood A-listers like Priyanka Chopra and Deepika Padukone as it is about his high-profile, sometimes controversial, collaborations with Christian Louboutin, Estée Lauder, Asian Paints, Pottery Barn and H&M - all of which he's taken in stride.

"Slogans like ‘Where has love gone' and ‘All dressed up nowhere to go' were inspired by Simon & Garfunkel's The Sound of Silence, talking of technology isolating us. The line ‘bowed and prayed to the neon god they made' speaks of screen addiction," says Mukherjee. Pic Courtesy/Dolly Devi

Now, he is changing direction. While "Sabyasachi Red" and ivory tones remain bridal staples, the brand is pivoting towards luxury ready-to-wear. The 155 non-bridal looks at his anniversary show marked the start of this transition. "We're morphing Sabyasachi because I believe the bridal market in India is waning. The audience is broader now, with modern dressing shifting toward mixing and matching separates," he says. "We are moving beyond lehengas and sarees. The shell may change, but the core craftsmanship remains deeply Indian. People today want global brands with regional pride - that's what we reflect."

He insists that he didn't create this show for today's customer, but for tomorrow's. "India hadn't changed for a long time, but now there's a lot of catching up to do. Changing wedding dress codes is like creating a new religion - I never imagined a Marwari woman would wear a gown at her wedding, but it's happened in just a decade."

This forward-thinking attitude shapes both his designs and life - ever-evolving, with unyielding drive and a strategic, long-game mentality.

Mukherjee channels Frida Kahlo's headbands, his grandmother's maximalism, and a Catholic school influence with high-neck blouses. Pic Courtesy//Dolly Devi; (right) "This is my ode to Chanel - not the brand, but Coco Chanel, the woman." Pic Courtesy/Sunhill Sippy

Mukherjee's shifting personas are often hard to pin down, especially in an era dominated by social media and self-promotion. But long before self-promotion became the norm, Mukherjee understood its power. Like a novelist, he embodies multiple characters: one who designs clothes, accessories and jewellery, while another - backed by Aditya Birla Fashion & Retail Limited (ABFRL) - is orchestrating a seismic shift in the business of fashion. In 2021, ABFRL acquired a 51 per cent stake in Sabyasachi Couture for Rs 398 crore.

Today, Mukherjee's empire is valued at R500 crore (around $58 million), with R150-180 crore ($17-21 million) coming from his fine jewellery line and approximately R60 crore ($7 million) from accessories. He expects accessories to grow steadily as distribution ramps up, but jewellery will remain the long-term leader.

"Our jewellery is starting to outshine even the clothing. Feedback from the international press, as well as retailers like Neiman Marcus, Bergdorf Goodman, and Saks Fifth Avenue, has been overwhelmingly positive. It's unique, high-quality, and designed for repeated wear, ticking all the boxes for what the modern consumer seeks in investment pieces," says Mukherjee.

Sabyasachi is also expanding his retail footprint. The brand's first standalone store opens in Hyderabad, followed by one in Bengaluru by mid-year, offering clothing, accessories, and jewellery. "It's a new kind of luxury: couture-quality ready-to-wear. Later this year, we'll expand our Delhi space. The goal is to diversify the brand, reach beyond the wedding market, and build something sustainable and timeless. While the bridal segment will always remain, we're focusing on a broader luxury ecosystem."

Sabyasachi reimagines glamour and decay

Sabyasachi's 25th Anniversary Show

The pre-show area featured a 72-foot grazing table across two levels, adorned with antique vases, sculptures, silverware, porcelain Chinese pottery, carpets, animal sculptures and taxidermy. It also showcased 19 artworks, including digital prints, from the Sabyasachi Art Foundation. The luxurious spread included 300 bottles of Dom Pérignon, oysters from Japan and 8 kg of Russian caviar.

The set, planned over six months and assembled piece-by-piece like a Lego structure at the Jio World Convention Centre, was divided into two parts. At the entrance, 100 old clothes, mosquito nets, and bedsheets created an atmospheric welcome. The main show featured elements inspired by North Calcutta: Corinthian pillars, Chinese pavilions, Victorian furniture, Thakur dalans (worship halls), and ornamental verandas. "This collection is an homage to Calcutta's idealistic character," says Mukherjee. "The dichotomy of glamour and decay mirrors the tension of high and low in my designs."