It’s not everyday that you get an unassumingly simple, yet profound, life lesson from a fashion designer when asked about creative reinventions to measure relevance.I have been privy to first-hand accounts and anecdotes of inventive approach, calculated experiments, and pushing boundaries in fashion. But when the monarch of Indian fashion, JJ Valaya says,“If you don’t lead a content life, trust me, no amount of money is going to make you happy. Peace and joy are closely linked to contentment,” you pause to crosscheck the question you have asked as a fashion journalist. But the designer and couturier continues,“I can’t please everybody.
I am going to move forward with the fact that maybe 50 per cent of this country’s buying audience is not my customer. Out of the balance 50, maybe 25 per cent go to other designers. And I’m very happy with the remaining 25. Let me show them what I can create with my earnest pursuits and that’s more than enough for me!”
There is this certain warmth about Valaya that puts you at ease and even makes you chuckle mid- conversation.While the ornate decadence of The World of Valaya—the two-storey flagship store at JW Marriott, Aerocity—leaves you enchanted, the designer’s unruffled temperament is what draws you in.The entryway of the palatial flagship is a creative space where he showcases his photography—a cherished passion that lights up his face with the very mention of it.
Inside, there is a bridal atelier, menswear section, home and interior line, walls draped in rich tapestries, mannequins dressed in his signature chevron print, exquisite lehengas with intricate zardozi and mixed metal embroidery, bejewelled cummerbands, opulent chandeliers, curios, and figurines stacked tastefully. Inside the quintessential world of Valaya, I sit to speak with the designer who still exuberates child-like enthusiasm shedding light on his journey and legacy spanning a little over three decades.
The industry, as a whole, is on a roll at the moment, believes Valaya. “When I started my career, there was one fashion store in the entire country and one fashion institute that churned out 22 designers every year—the first NIFT. There were no publications writing about fashion. It was a handful of us who believed that the time was right. I give credit to the late Rohit Khosla.
Back from London, he questioned ‘why does this country not have any designers?’ And, then one thing led to another. The whole process started and I’m so glad I was there,”he shares.Being a luminary of the Indian fashion industry, playing a monumental role in its growth, and staying relevant for more than three decades—it’s been quite a trip for the Czar of fashion.“The excitement that I have today is perhaps even higher than what it was when I started—what more could I ask for,” he smiles.
The birth of the Fashion Design Council of India (FDCI) was a significant milestone and Valaya was one of the founding members. It introduced the culture of fashion weeks in the country. “It’s magical being part of a journey from absolute ground upwards.With the privileges that today’s kids have, you can literally reach the entire world in a fraction of a second.The whole concept of wearing people’s (brand) names on your collar was alien. It all seems like yesterday,”he recollects.
Today, luxury fashion has evolved multifold. For instance, there’s the origin of the diffusion segment and it’s growing because of corporate involvement, Valaya points out.“ We have been doing our bit as well with our bridge-to-luxury line,JJV Kapurthala. This is a completely different journey for me, because I am primarily known for my bridal wear and embroideries.But this is accessible luxury and involves very minimal embroidery.”And to push the boundaries of luxury within the brand,the designer offers the JJ Vallaya Muse experience.“There,I ask myself ‘how much can I dream?’,‘and if I dream, what can I put together?’ So, if you ask me what’s happening to Indian fashion, they’ve never had it better, perhaps one of the best years for Indian fashion,” he quips.
The JJValaya Muse is an immersive experience that invites the wearer to become the protagonist of their own enchanting story. Conceived as a highly personalised expression of the designer’s creative vision, it embarks the client on a one-of-a-kind sartorial journey that exceeds the boundaries of conventional fashion.To further add mystique to the premise, the couturier has dedicated a section of his flagship store, planned like a museum where you can get a glimpse of the bespoke masterpieces across glass window exhibits.“Muse is the only space where I take personal appointments. I want to understand what the wearer is looking at and what are their deepest desires? It requires a lot of interaction with the client to create something exclusive. Once that is done, we actually sit down and start working on putting the traces together, creating the patterns and then actually sampling the whole piece. We end up using a lot of unconventional materials like pure silver, real pearls, semi-precious stones, etc.,” elaborates Valaya as he mentions two ‘Muse’ deliveries scheduled for the day, the orders of which came in 2023.
He points to a bright red trunk in his office and adds,“the delivery happens in this beautiful trunk. It contains a personalised letter, an artistic sketch signed by me, and our signature chevron shawl is also added as a gift.We also share the original traces of the ensemble in the trunk. ”Apart from retaining exclusivity, it also serves as a great resource for restoration in future.“ In the years to come, you can open the whole thing and go through very leaf, every fly, and detail—the way it all meant to be.You should see the expression on clients’ faces when they receive the trunk—makes it all worth it.”
Valaya’s creative interventions are a testament to luxury and its modern iterations.While everybody is making good clothes, visually, backed with aesthetic photoshoots and well-styled campaigns, it is imperative to take a closer look at the details and the quality of craftsmanship.“If you look at the kind of stitches we do, the minuteness, the intricacy—there is no way, and I say it with pride, anybody in this country who can match that. It is where our core strength lies and it sets luxury apart from the rest.” He is frequented by clients who come with decades-old trousseau asking to be altered for their daughters. “We’re talking about garments that I created three decades back and they take them out in pristine conditions, standing the test of time interms of the quality, fabric, and craft. All we have to do is maybe make the sleeve shorter, tighten it a bit, and they’re good to go. So, creating something that endures is a big differentiator, and truly defines luxury.”
For someone who is known for his signature mixed metal embroideries and regal craftsmanship, Valaya feels that we as Indians should not run away from the fact that we are maximalists at heart. One look at our festivals, food, and architecture is a telltale sign of our detail-oriented, opulent roots. The trend of minimalistic beauty has always been transient and you will outgrow it, he points out.“I believe that as Indian designers, we are here to harness all the wealth that we truly possess in terms of textile, craft, and our legacies, and project that in a completely new manner.And, I don’t mean to make history classes out of this, it has to translate into visual nirvana. It has to bewilder you.And if we cannot create that, then no amount of history lessons or Instagram stories are going to save it. Be committed to what you’re creating.” It doesn’t mean one has to fill their clothes with embroidery but developing exquisite weaves is the need of the hour. “There are weavers sitting there who are willing to experiment. Explore your roots and you don’t have to imitate theWest ever.We need to start looking at modernising Indian traditions. Take something that existed forever and make it so beautifully relevant that the world is in awe.”
While opulent maximalism sits at our very core, simplistic design sensibilities can co-exist, explains Valaya. The true beauty lies in finding the right balance.Case in point, the designer’s bridge-to- luxury line. When asked about how he decides upon which technique to simplify and what to highlight when designing across categories, Valaya leads with profound creative clarity.“ I call it ‘minimax’: A minimal take on maximalism I’m crystal clear in my mind as to what both my lines are doing and who they are dressing. So,other than our embroideries, we are very strong with our prints. And these play a huge role in that side but we still lean towards occasion or formal wear.We’re not casual at all. So,as long as I’m in my territory of dressing up people to make them feel good for special occasions, I’m completely at ease.” It’s the restraint in JJV Kapurthala and the extravagance of couture that makes it a perfect balance for him. Valaya shuffles between both the teams to intrigue his mind.Then there is his third domain—homes and interiors.“I don’t think at this stage I would ever do anything that I am not naturally aligned with. However big the money is, these are the years where I’m going to focus and take what I’m best at to the next level.”
The couturier’s design vocabulary and ethos spanning decades are a testament to his flair for reinvention but he didn’t shy away from taking a two-year sabbatical in 2017,only to spring back in 2019 with a fresher outlook.“I’ve made two extremely disruptive decisions in my life. First was quitting a career as a chartered accountant and walking into NIFT.And second was when I became extremely bored with the way Indian fashion was going, including my own.Attention to detail and quality was taking a backseat.And I didn’t want to be a part of that rat race.The only way to exit at that point was to stop. I closed the factory, all of the shops, and just disappeared.”
He went through a whole process of realigning and redefining his vision to where he wanted to take the brand.And two years later, Valaya emerged much clearer. “You’ve got to do some risky things in life. Just don’t play safe all the time,” he laughs.
While cultural heritage, mysticism, and historical periods remain a constant inspiration for the couturier, his research-driven creative process doesn’t have a preset formula even after three decades. For Valaya, the world has so much to offer in terms of culture and craft.“How can I take it all and make it relevant again? That’s my only purpose.I look into Islamic nations, India,or the far east for inspiration. I am inclined towards the spice and silk routes. They offer mysticism, history, and vibrant culture.Take for instance,Turkey, Persia,Azerbaijan, Uzbekistan, Indonesia, or India—these countries bring distinct cultural outtakes for me to explore. I make a lot of mood boards and club every collection into three segments: Royal, Nomad, and Art Deco. I further categorise these into nine sub-segments. I’m greedy and want to always push myself.”
Valaya deeply believes that with artisans coming into the spotlight, impactful measures are required to ensure that they are not only involved in production processes but are also empowered in the larger narrative of Indian fashion.“I’ve seen people sometimes put a couple of their weavers or embroiderers on marketing campaigns and give them a singular moment of glory.But in my opinion the real contribution lies in employing more artisans and adopting clusters. For example,if we have, say, 500 people working with us in-house, our next move is to adopt villages.
We understand that everybody can’t come here. So, the idea is to address this issue and get them excited to work from their homes. It changes everything. I’m glad to be able to do this, thanks to my partners who are progressive thinkers.The vision is to get into the grass root level to make a positive impact.” In the end, everybody needs to sustain, survive, grow, and most importantly, inspire the next generation to carry on with what they’re skilled at.“ And if you don’t support that as designers, the next-gen would rather go to a big city but will not take up bunai or kadhai.” The House of Valaya works closely with craft clusters across the country including the villages of Bareilly and Rudrapur in Uttar Pradesh.
So, what’s next from the world of Valaya? I ask. “In the course of the next two months there are four new stores opening. I am very extremely grateful because this is like a dream every designer has. Additionally, a lot is coming up in the home section. Also, my daughter, Hoorvi, is getting married this year. I am very excited. The idea is to be present in the moment and have fun,” Valaya smiles and signs off.
All images: Tongpangnuba Longchari
This article first appeared in Bazaar India’s January-February 2025 issue.
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