Sabyasachi Mukherjee on creating a holistic luxury experience that stands the test of time

To the world, Sabyasachi Mukherjee is a celebrated couturier whose maximalist expressions, creative innovation, and unwavering mission to put Indian fashion on the global map, collectively serves the grand scheme of the business of luxury. In his heart, he is a deeply passionate artist for whom socio-cultural standpoints, values of revivalism, and modernism form the irreversible attributes of fashion. In an exclusive conversation, Sabyasachi elaborates on his penchant for exoticism, signature cultural savoir-faire, latest high jewellery collection, and more.

Harper’s Bazaar: With global expansions, creative collaborations and exquisite store launches, the ‘Sabyasachi experience’ has translated into a larger-than-life affair. How do you always manage to stay ahead of the curve?

Sabyasachi Mukherjee: I am vehemently opposed to the fragility of trend and season. For me, it’s about creating not just a brand but a holistic luxury experience that can stand the test of time. When you create a brand where craft, culture, and fine artisanry is at the core, it’s not about a singular product—it’s greater than that. This is heritage, history, and a unique design all tied together. And my mission is to not just make this economically sustainable but to make whatever we do memorable and built to last. I’ve never tried to stay ahead of the curve, as I’ve never been on the curve. I do what’s right by my vision, company, brand, employees, craftspeople, and customers—it’s the big picture vision, the right now has never excited me.

HB: Your signature cultural savoir-faire is one for the books. How do you straddle it with being a businessman?

SM: My savoir-faire made me a businessman. When you work with craft, you work with not just individuals but communities. Sometimes even creating communities. The Sabyasachi ateliers have over the years become an ecosystem of the best of India’s craftsmanship and talent, and while we nurture this with a constantly evolving savoir-faire, I’m also aware of the responsibility of running a business and the livelihoods that rely on me. But for me, these are not oppositional forces, I think the two work together to create a great brand.

HB: The first Sabyasachi High Jewellery Show in the capital was nothing short of ‘art in motion’. Tell us about the new collection.

SM: Since the launch of Sabyasachi Jewellery, it’s been my mission to make and showcase the finest of Indian jewellery craftsmanship across the world. And I wanted the first show in India to be an intimate focused affair.

The collection combines the best of craftsmanship, aesthetic exuberance, and the most exclusive of gemstones. I really wanted to push the boundaries of Sabyasachi Jewellery, and I think I did with this collection. We created our boldest piece yet, The Calcutta Rose Necklace with a rare suite of 446 carats of sherbet-toned tourmalines. The Gemini Suite, that challenged symmetry while playing tribute to the colours of the travelling circuses of India, and the jewellery worn by maharajas and courtesans. And of course, the Maharani Necklace, which has become a house classic and deconstructs jadau into a contemporary silhouette.

HB: How would you like to describe the evolution of your high jewellery line since its inception in 2017?

SM: I have been a couturier for 25 years now, I think making jewellery was almost an organic extension of my vision. In the years to come, as synthetic stones get more and more common, there will be nothing rarer than the finest of craftsmanship. Craftsmanship is what will stand the test of time. With Sabyasachi Jewellery, I am committed to bringing this historic legacy of craftsmanship back. I’m very glad to say that over the last seven years of Sabyasachi Jewellery, we’ve seen a wave of reverse migration of Bengal’s jewellery master craftspeople back to Calcutta. Currently, all our jewellery that includes the High, Fine, and Heritage collections, are conceptualised and made within the brand’s Jewellery Atelier.

HB: What was the inspiration behind the recent collaboration with Bergdorf Goodman?

SM: I’ve been thinking about exoticism—India and the Moulin Rouge, French, and Bengal savoir-faire. Marrying the classic with the outrageous, from sombre evening pieces to head turning statement jewellery. Conjuring tigers, elephants, palms, berries, and botanicals—crafted in spectacular gemstones. The precise geometry of watchmaking and the graphic strength of Byzantine mosaics, the symmetry of Mughal gardens challenged by the asymmetry of modern punk and confidence of Bengali craftsmanship. This is a kaleidoscopic collection with an unexpected whimsy.

HB: Coming to your RTW collection, what are the things you take into consideration for the international market?

SM: You know, I started out as a ready-to-wear designer. Back in the early noughties, my vision at the time was what I thought was simple—to use Indian crafts and craftsmanship to create wearable beautiful quality clothing for the world. Craft and modernity have never been in conflict, for me they’re seamless. But soon, I realised I wasn’t big enough to crash through the gatekeepers. I came back, post many showings at Milan and New York Fashion Week, and selling at some of the world’s best department stores such as Browns, Selfridges, Lane Crawford, and Joyce—I decided that I would leave and only return once I could command the market, rather than try and fit into it. I relaunched my ready-to-wear collection when I opened my store in New York. The vision remains the same, but with about two decades of hard earned experience. And the reception to my ready-to-wear, both in India and abroad, has been absolutely overwhelming.

HB: What motivates and inspires you?

SM: Calcutta and Bengal. It’s not just where I’m from, but it’s the home of art, culture, and the finest of craftsmanship in the world. But it was a fading, nearly forgotten legacy. Everything I create is a renaissance of the depth of craft and culture of Calcutta. I truly believe that Calcutta was the seat of luxury, and luxury will return to Calcutta.

HB: How do you foresee the future of Indian craft and textiles on the global map?

SM: I definitely think India is having its moment. Be it the designers who are making their way there or the international luxury market’s renewed interest in India. But we have a long way to go. It has always been my mission to preserve the repertoire of the finest of India’s crafts, craftsmanship and textiles. I believe that our strength and power is in luxury. But we have been delegated to the backyard of luxury for too long. True luxury for me will always be rooted in the handcrafted. We’re not just a manufacturing and crafts centre, we are capable of building empowered luxury brands. And I think it’s our time to lead from the front.

HB: What next from the exquisite world of Sabyasachi?

SM: India has one of the oldest luxury narratives and capacities in the world—from our deep and rich history of heritage craftsmanship to jewellery making and artisanal textiles. It’s always been a disappointment that we don’t have a single global luxury super brand. I want to change that narrative and that’s what I’m working towards.

Also read: A journey into the world of Odisha’s timeless Khandua sari

Also read: Abu Jani and Sandeep Khosla on their love for art and culture, the evolution of Indian fashion, and more