 "Mandira Bedi walks the ramp with the designer during PAYAL JAIN show part of Lakmé Fashion Week 2025, held on October 11th at The Grand New Delhi, India.
Photo : FS Media Pro / FDCI x Lakme Fashion Week / RISE Worldwide")
As Mandira Bedi rightly said, “From Chikankari and Chanderi to Champs élysées, from Mulmul to Moulin Rouge, Payal’s collection is a reflection of Indian craft married with contemporary style.” Payal Jain’s collection at the Lakmē Fashion Week X FDCI reflected everything classy and was a true inspiration from Paris. From decades of walking down bustling boulevards or sipping endless cups of coffee in quaint Cafes and Patisseries, she continues to be fascinated by Paris.
She believes when it comes to sustainability of fashion, it has to be embedded in every step of the process, starting from the design intent, to the choice of yarns, weaving process, dying techniques, surface ornamentation, waste-less production, conscious packaging and minimal carbon footprint.
In a long conversation with Firstpost during the recently held Lakmē Fashion Week X FDCI, she talks about not just the aesthetics of fashion, but how fashion can be hugely political, the business of fashion and how luxury is about slow, meaningful and purposeful creation, not churning out vest number of replicas of the same thing.
Edited excerpts from the interview:
Where do you see India in the world fashion order?
I believe India has always led in the textile and craft space, and the western brands have researched, explored and incorporated these traditions into their design aesthetic for several decades. In the past decade, Indian creators have started to celebrate their roots, telling stories about the brilliance of our heritage and the craftsmen, thus bringing several Indian brands to the forefront of global fashion.
There is tremendous interest and anticipation towards Indian designers from buyers and clients worldwide, and I truly believe this decade belongs to India.
How can fashion be deeply political too?
Fashion is a very strong medium of expression, and has been used as a tool for social and political messaging. Colours, motifs, silhouettes all can be politically rendered for harmony or unrest, I would like to believe creative people are sensitive and peace loving, and would only use this medium to spread harmony, peace and joy in the society.
What was the thought that went behind your collection at the Lakmē Fashion Week X FDCI?
Paris Mon Amour is inspired by the Parisian men and women, who walk past unhurried yet magnetic, perfectly tuned out to the most minute details, with poodles on their arm, espresso in their hands and an effortless sense of style, almost like models gliding down the runway.
Decades of walking down bustling boulevards or sipping endless cups of coffee in quaint Cafes and Patisseries, I continue to be fascinated by the world go by, as one can only be in Paris, the most fashionable city in the world!
In this collection, I have attempted to bring that spirit home, weaving it with the timeless textiles and crafts I hold closest to my heart.
Light, breezy ‘Katruan’ cotton from Banaras whispers floral notes with Zari accents, white ‘Chikankari’ rendered in delicate floral motifs on ivory mulmul, hand-stitched lace stacks, elaborate cutwork compositions on cotton and layered appliqué with fringe details in denim add a fresh quality that feels like the first rays of sunshine in the morning. The silhouettes are light and playful—ivory Chanderi and Mulmul blouses paired with true indigo denim minis, wraps and shorts that dance with every step, oversized jackets, crochet jumpers, wraps, shirt dresses and scarves caught in the breeze.
What was the thought that went behind making Mandira Bedi the showstopper?
Mandira Bedi, primarily because she stands for everything that this collection is all about. She is a woman of strength and purpose, confident about her place and path in life, holding her ground through life’s highs and lows. She also has a playful, charming, cool and stylish side to her personality, much like this collection. She is an old friend, a muse and someone I admire greatly for her strength.
What are your views on revival of weaves?
I have always worked with Indian textiles and crafts, and they remain my first love. Through the years I have seen several crafts on the verge of extinction and some have completely vanished, with no one in the family to carry it forward.
As a designer, I believe it’s my responsibility to create collections that showcase our rich heritage and take them to the world, thus ensuring the longevity of these traditions, sustaining the clusters that continue passing these traditions down the generations. This collection is entirely craft and textiles based, and has taken 12 months to come together and as always, all business on this collection will go back to the respective clusters. Without their brilliance and skill, this vision could never have been transformed into reality.
Your take on slow fashion and why it’s the need of the hour to be conscious consumers
Fashion to me is about joy, purpose and meaning, not just churning out numbers but making each collection unique and mindful. The process of creation needs to be sustainable and when I speak of sustainability, I believe it has to be embedded in every step of the process, starting from the design intent, to the choice of yarns, weaving process, dying techniques, surface ornamentation, waste-less production, conscious packaging and minimal carbon footprint.
The consumer is very aware of their impact on the planet, and will choose sustainable, ethical and conscious fashion, when given the choice and information by brands. I believe educating the customer is key to sustainable fashion choices, and creating an ecosystem that is good for the planet.
How can we reduce fashion pollution and be mindful and yet look stylish?
Fast fashion is creating far too much pollution today, it is imperative for designers and creatives to be cognizant of the carbon footprint being added by their creations, and how to minimise it. To be stylish, clothing does not have to be unfriendly to the environment, or add to the carbon footprint, both sustainability and style can go hand in hand.
What is your take on the business of fashion; how well is it doing with the global recession?
There is a huge churning happening in the fashion industry, and with the current tariff situation, there is much to be seen. Global fashion also is having an impact on luxury goods and fashion, however mindful, conscious fashion will hopefully sustain through these changing times.
How is a machine is inferior to craftsmanship?
I don’t think there is any comparison between hand craftsmanship and machine work, they are two different aspects of any industry. Hand craftsmanship cannot be replaced by machine work, never has and never will. Luxury is about slow, meaningful and purposeful creation, not churning out a vast number of replicas of the same thing.
What are your views on pragmatism vs imagination?
I believe there is no end to imagination, however fashion is a commercial art form, and hence practicality must go hand in hand with imagination and creativity. One can create art for one’s own joy, but fashion has to find a home with clientele and hence practicality, comfort, trends and style are important.
Who are your fashion icons in Bollywood and Hollywood?
When it’s Hollywood, it is Audrey Hepburn and Angeline Jolie. From Bollywood, I feel Madhubala, Zeenat Aman and Deepika Padukone are the best.
Lachmi Deb Roy is the Entertainment Editor of Firstpost, Network18. She reviews films and series with a gender lens. She is a 'Rotten Tomatoes' certified critic. Her interviews are called 'Not Just Bollywood' because she takes a huge interest in world cinema. She has been the winner of the prestigious Laadli Media and Advertising Award for Gender Sensitivity for two consecutive years, 2020 and 2021. OTT over theatrical releases is her preference unless and until it's a King Khan film. She takes interest in fashion, food and art reviews too.