Gaurav Gupta is a couture designer who turns fantasy into form with the most natural agency – the flow. His wearable art has been donned by Cardi B, Beyonce, Jeremy Pope, Shakira, Mindy Kaling et al, but what distinguishes his craft is a certain romance with the cosmos. The words that his creations evoke are ascension, emotion, intuition, mystery, waves and the ocean… admittedly, he cites the subconscious as his foremost friend at work. Equally fascinating are the names of the conceptual collections that draw on ancient Indian wisdom – from Shunya to Jyotirgamaya. He seeks inspiration from all of the universe, alluding to faith in the timeless philosophies advocating the oneness of the individual and the absolute. His young atelier, fluid and fairy white, is an architectural marvel of its own. Intense and intricate, Gaurav’s designs reinvent the traditional craft of embroidery to stand for freedom and the future. As a subscriber to the Alexander McQueen school of thought, he isn’t afraid to go where no one has gone before and sculpt his own story in surrealism. His creativity is based on connection, which is an important element of good design in any field. After a reflective pause, he is ready to celebrate twenty years of his studio with new expansions and take the Paris Couture Week in January 2025.
Soumya Mukerji: Your designs are the perfect marriage of structure and fluidity. What is the secret formula?
Gaurav Gupta: The balance between structure and fluidity comes from a respect for opposing forces. It’s about harmonising rigidity with motion, strength with delicacy. The secret lies in embracing dualities, respecting both the material and the form it can take. It’s like sculpting air and steel simultaneously, an interplay that I find endless fascination in. There’s also a certain surrender to the unknown, sometimes the design guides you more than you guide it.
SM: Let’s go back to when you were a boy. How did your roots lead you here? Your family worked with the steel plant – surely it isn’t a coincidence that your couture exudes metallic magnificence?
GG: There’s an undeniable link. Growing up surrounded by steel, witnessing its raw, industrial strength, undoubtedly left an impression on my subconscious. Metal has this inherent duality, it’s both malleable and strong. That metallic influence transcended into my designs, especially in my sculpted pieces. It feels as though I’m bringing the memory of that raw material into a world of organic form, beauty and elegance. My journey might seem unexpected but in many ways, it’s been predestined by my roots.
“ I believe magic and design aren’t in conflict, they are co-conspirators. Design, at its best, evokes wonder, which is the very essence of magic. ”
SM: Magic is often seen in conflict with design based on the popular principle, ‘form follows function’. How would you dispel that misconception?
GG: I believe magic and design aren’t in conflict, they are co-conspirators. Design, at its best, evokes wonder, which is the very essence of magic. The idea that ‘form follows function’ is practical but it doesn’t account for the emotional or imaginative responses that design can evoke. I see design as a vehicle that transcends the functional, allowing us to touch the intangible. Magic is the experience, design is the craft that delivers it.
SM: As a sculptor, surrealist and architectural artist, there’s a signature to your forms. There are no sharp edges, everything is circular, looped – almost reaching into an elevated spiral defying time, entering a higher dimension. How do you invoke the subconscious while conjuring your creativity? Can you take me behind your process?
GG: My creative process is deeply intuitive, almost meditative. When I design, I feel like I’m sculpting dreams, shapes that are less concerned with reality and more with an elevated sense of possibility. Circles, loops, spirals – they symbolise infinity, movement without boundaries. It’s like accessing a state where time dissolves and you’re operating in a higher realm. My process involves both a dialogue with the materials and an internal conversation with my own subconscious, where surrealism thrives.
SM: You’ve often highlighted the importance of working with the ‘right energies’. What defines this for you? Can you share a recent experience to illustrate this?
GG: For me, the ‘right energies’ are all about creating a space where creativity can truly flourish. Recently, while designing a custom saree for actor Janhvi Kapoor, we found ourselves in some spirited debates over the colour choices. As a large team, not everyone sees eye to eye but I think that’s a crucial part of the process. Those moments when my team challenges me, just as I challenge them, often lead to the most innovative solutions. In the end, we created a stunning piece that really captured our collective vision and it was a reminder of how valuable those different perspectives can be.
SM: Is the global fashion landscape a more inclusive and supportive stage today? What are your observations over your journey of three decades?
GG: I believe the fashion world has made strides toward inclusivity but it is still evolving. Over the past three decades, I’ve seen a broader acceptance of diverse narratives, identities and aesthetics. There’s more room for voices that previously might not have had a platform. However, inclusivity is not just about representation, it’s about fostering meaningful dialogue and collaboration across boundaries.
SM: The most important learnings thus far and the moments that taught you these.
GG: I think for me, one of the most significant lessons has been to embrace the non-linear nature of the creative journey. There will always be periods of breakthrough and times of stagnation and both are essential to growth. As you may know, we were unable to participate in Paris Couture Week last season due to an accident, which, while disappointing, became a moment of deep reflection and recalibration. It taught me resilience and the importance of trusting the process, even in moments of setback. Now, I’m back to work and we are gearing up for all the exciting events to come, ready to push boundaries and continue the creative journey ahead.
SM: An uncompromisable design principle you follow…
GG: One principle I never compromise on is the integrity of the form. Whether a gown or a metal sculpture, each curve, each element must feel organic, intentional. I often say, ‘The form must flow’ and this ethos underpins everything I create. It’s not just about beauty but about a deep connection between the form and the energy it evokes.
SM: You once said you’re up for designing anything – even a city. If you could change one thing with a radical new design, what would it be?
GG: If I could radically redesign something, it would be our urban environments. Cities today are often rigid and disconnected from the natural world. I’d want to introduce more fluidity and harmony into urban design, creating spaces that feel organic, where architecture and nature coexist seamlessly. Imagine a city that breathes and grows like a living organism, where forms are sculptural and the energy flows in a way that nurtures creativity and well-being.
SM: Any new material that you’re toying with? And the ones you think will define the future of textile design.
GG: I’m currently experimenting with repurposing our old designs and embroideries— bringing a sense of continuity and evolution to archival pieces. The idea is to breathe new life into past creations, using advanced techniques to reinterpret them in a modern context. I believe this blend of innovation and craftsmanship will continue to shape the future of textile design.
SM: What is your vision for the coming year and the projects you’re looking forward to?
GG: The coming year is particularly special as we mark the brand’s twentieth anniversary. Our vision is to push the boundaries of wearable art even further, exploring mythological and futuristic elements in deeper ways. I’m particularly excited about Paris Couture Week
in January and our continued expansion globally.
Words Soumya Mukerji
01.02.2025
Excerpt from Interview published in November 2024 bookazine.
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