Married at 16, designed Aishwarya Rai’s wedding outfit | Ft. Neeta Lulla with Radhika Bajoria

[00:00:01] How to become a actress

[00:00:05] We are Neeta Lulla, Welcome Neeta to our show, Wiping Out The Norm

[00:00:12] Thank you so much, that was such a sweet introduction

[00:00:15] Everybody knows about your journey, you've completed 40 years in the industry

[00:00:19] So, had to be a little different, you know

[00:00:21] I have a very interesting question that people usually wait till they complete their education

[00:00:27] and then get married, you did something completely different

[00:00:31] You married at the age of 16, just so that you could not study

[00:00:35] You mean you were not scared of marriage or you were very scared of studies

[00:00:39] Why did you choose to marry so soon?

[00:00:41] I was not scared of marriage or studies, I just didn't want to study

[00:00:45] And why was that?

[00:00:46] It was not my calling at all

[00:00:48] My calling was playing through wall, playing badminton, table tennis

[00:00:53] Play acting and stuff like that

[00:00:56] But studying was never something that I...

[00:00:59] I mean, you know, you meet all kinds of people

[00:01:01] Some say I'm very dyslexic, I always say that I'm dyslexic

[00:01:05] I hear people, I observe, I listen

[00:01:07] But why were people called you dyslexic?

[00:01:10] No, I called myself because I hate studying

[00:01:12] I pick up a book and I fall asleep

[00:01:15] And that was the only reason why you decided to get married

[00:01:19] I was quite a tromboy and my dad once told me

[00:01:21] If you don't study, I'll get you married

[00:01:24] I said, right now

[00:01:26] He was quite shocked, he said

[00:01:28] I mean, are you okay with getting married?

[00:01:30] I said, yeah, if you're going to make me study, I don't want to study, I want to get married

[00:01:34] But how are you so bold enough to say yes to something like a marriage

[00:01:37] which involves so much of responsibility?

[00:01:40] It takes all kinds to make the world listen to that

[00:01:42] I know, that's why you're here today

[00:01:44] Thank you

[00:01:45] Tell me, what is the difference between a tailor or designer

[00:01:48] because everybody who is stitching dresses or designing

[00:01:51] thinks that okay, they can be a brand and they can become big

[00:01:55] but only a few people can become designers like you are today

[00:01:58] So what's the difference?

[00:02:00] You took me back to 1989-1990

[00:02:06] when I just finished doing clothes for Jhura

[00:02:10] And I got a call from the South Indian production

[00:02:14] and they said, hello, can I speak to Neeta Lola Taylor?

[00:02:20] And I was so offended, I was like, Taylor

[00:02:24] I mean what did I study for fashion design?

[00:02:26] Why did I do fashion design?

[00:02:28] But then I realized that people don't

[00:02:31] at that point in time it was very primitive

[00:02:33] fashion was primitive

[00:02:35] and they didn't understand the difference in tailoring

[00:02:38] and fashion design as a career

[00:02:40] Designers were just ebbing at that time

[00:02:42] Which year was this?

[00:02:43] This was around 1989-1990

[00:02:45] Okay, long back

[00:02:47] So they wanted me to do clothes which were

[00:02:51] for Govinda I remember

[00:02:53] and they said can I speak to Neeta Lola Taylor?

[00:02:56] So I said yeah this is fashion designer Neeta Lola

[00:02:59] and I took a lot of pride in saying that

[00:03:01] How did you start your concept as a designer

[00:03:04] and what was it to be like a designer in those times

[00:03:07] in 1990s?

[00:03:08] So there was never a concept of being a designer

[00:03:11] at that point in time because it was very primitive

[00:03:14] and very nascent

[00:03:15] but for me once I did fashion design

[00:03:20] I thought I was getting into a hobby

[00:03:22] you know that I would just learn tailoring

[00:03:24] and make new clothes

[00:03:26] I was admitted into S&DT which was a college

[00:03:29] for fashion design

[00:03:30] and I took up the course

[00:03:31] and post my graduation I realized

[00:03:34] this was a full-fledged career

[00:03:36] even then I wasn't into fashion design

[00:03:39] I was into fashion choreography

[00:03:41] two years I worked with

[00:03:42] What was that? How is that different?

[00:03:44] Fashion choreography is shows

[00:03:46] show direction

[00:03:47] the holistic advent of putting things

[00:03:50] for a fashion show

[00:03:51] creating a fashion show

[00:03:52] creating the dramatics around a fashion show

[00:03:55] at that point in time also

[00:03:57] we did a whole lot of magnanimous shows

[00:03:59] we never did just straight work

[00:04:01] there was dance, there was drama

[00:04:03] there was a whole lot of backdrops

[00:04:05] and visuals that were used to create a fashion show

[00:04:08] and they were done in the most exotic locations

[00:04:10] I remember we did a show on a ship

[00:04:12] and working with stalwarts

[00:04:15] like Jeanne Eroji and Heyman

[00:04:17] for fashion shows

[00:04:18] I started learning and directing shows under them

[00:04:21] and then suddenly I got an opportunity

[00:04:24] to do a film and I did that

[00:04:26] and at the same time

[00:04:27] when I started working on films

[00:04:30] I did my first full-fledged bridal

[00:04:34] outfit

[00:04:37] my career started on this two-pronged trajectory

[00:04:41] which I didn't realize where it was leading me

[00:04:45] and at that point in time

[00:04:47] I was working with outsourcing from tailors

[00:04:51] and then I realized that I needed to do this for myself

[00:04:55] and create an in-house workshop

[00:04:58] because I had two kids

[00:05:01] really tiny kids

[00:05:03] and I needed to be at home

[00:05:04] How old were you?

[00:05:05] I was about 20

[00:05:07] Oh my God

[00:05:08] and you were a mother of two at 20?

[00:05:10] At 20, 21

[00:05:11] Yeah

[00:05:12] So yeah

[00:05:13] and then I opened this workshop at home

[00:05:15] and the deed that I was

[00:05:17] I, you know

[00:05:19] because you must have understood when dad said

[00:05:22] no, you study, I'll get you married

[00:05:24] so I didn't want to ask anybody

[00:05:26] for any money

[00:05:28] to buy my machine

[00:05:30] So what I did was

[00:05:31] I started to make sandwiches

[00:05:33] I sell sandwiches to school kids

[00:05:35] I stay very close to a school

[00:05:37] so I made my first 500 rupees

[00:05:39] and bought my first second-hand machine

[00:05:41] and I shook up the garments

[00:05:43] and I had a machinist who used to stitch it

[00:05:45] and then I realized that work was getting

[00:05:47] even more hectic

[00:05:48] so I bought another machine

[00:05:50] with the kind of money I made

[00:05:52] and I kept a master

[00:05:54] so I used to explain to him

[00:05:56] and then I had to even travel out

[00:05:58] because shoots and photo shoots

[00:06:00] and styling was taking up a lot of time

[00:06:02] so I was moving out of the house

[00:06:05] and bringing in more and more machines

[00:06:08] Of course I was at home

[00:06:10] work was happening from home

[00:06:12] till I had about six machines

[00:06:14] and it couldn't fit into the house anymore

[00:06:16] And that's when you got your first space

[00:06:18] When I got my first space

[00:06:20] People can't imagine now that they can sell sandwiches

[00:06:22] and start a business

[00:06:24] So 500 rupees I got a brother machine

[00:06:26] which was for a second-hand machine

[00:06:28] which was brilliant

[00:06:29] and I was so happy

[00:06:30] I still have that machine

[00:06:32] Oh you do?

[00:06:33] Who works on that?

[00:06:34] Nobody works on that

[00:06:36] It's too precious

[00:06:37] Like put it in a museum

[00:06:38] So yeah that's how the tailoring

[00:06:40] stint started and went into becoming

[00:06:42] a fashion design stint

[00:06:44] And what was the kind of money that

[00:06:46] fashion designers were making

[00:06:48] back in those times

[00:06:49] in 1990s

[00:06:51] I think they were taking me to back in time

[00:06:53] That's my job

[00:06:54] I really don't remember

[00:06:57] But

[00:06:58] I would have been making some

[00:07:00] 10 to 15 thousand a month

[00:07:03] Okay

[00:07:04] But again spending a lot of money

[00:07:06] on making clothes for styling shoots

[00:07:09] So I used to invest all that back into the business

[00:07:12] and back into my work

[00:07:13] Did you always have this ambition

[00:07:15] of making your designs

[00:07:17] as a brand?

[00:07:18] I never had this in mind

[00:07:20] No you were just enjoying the work that you had

[00:07:22] I was just enjoying the work

[00:07:23] For me that process was amazing

[00:07:25] And at the time when I started my career

[00:07:28] there was never a full-fledged plan in place

[00:07:32] You know like today I teach fashion

[00:07:35] I've been teaching for the last 36 years

[00:07:37] I interact with a lot of students

[00:07:39] I'm in a 22 year old student

[00:07:41] who's telling me

[00:07:42] you know I have to make a business plan

[00:07:44] because once I graduate

[00:07:45] I have to do this

[00:07:46] and then I have to do that

[00:07:47] and then I have to do this

[00:07:48] and I'm like whoa whoa whoa

[00:07:49] hold on hold on hold on

[00:07:50] Finish your graduation

[00:07:52] understand what you're good at

[00:07:54] you know

[00:07:55] introspect on that first

[00:07:57] and then go ahead

[00:07:59] and learn a little more in it

[00:08:01] and then plan

[00:08:02] The point is that

[00:08:03] for any student

[00:08:05] initially to go with the flow

[00:08:07] when you are getting yourself educated

[00:08:09] is very important

[00:08:10] especially because today

[00:08:12] we are not at a nascent stage

[00:08:14] we are not at a developing

[00:08:16] or progressing stage of fashion

[00:08:18] We are at the hilt of fashion

[00:08:20] where everybody is out there

[00:08:24] and at the click of a button

[00:08:26] you know what's going on

[00:08:28] world over

[00:08:29] Earlier it was like

[00:08:30] Okay, the girl is sitting at home

[00:08:31] let's go and do tailoring

[00:08:33] then she'll get married

[00:08:34] or if you're doing fashion designing

[00:08:36] then it will be a little glamorous

[00:08:37] and she'll get married

[00:08:39] This was the case

[00:08:41] even up till I remember 1998

[00:08:44] when I was teaching students

[00:08:47] when they said

[00:08:48] we've come into fashion design

[00:08:49] because we have to get married

[00:08:50] we need a

[00:08:52] you know it's like

[00:08:53] I'm going to get a good husband

[00:08:54] because I've done fashion design

[00:08:56] I think

[00:08:57] in that way

[00:08:58] when you look at

[00:08:59] people who are getting into fashion

[00:09:02] need to come with an open mind

[00:09:04] and an open thought process

[00:09:06] It's about

[00:09:07] a lot of learnings

[00:09:09] and a lot of giving

[00:09:10] to the industry

[00:09:12] expertise

[00:09:14] You know we have

[00:09:15] thousands of students

[00:09:16] who graduate every year

[00:09:19] out of them how many become designers

[00:09:22] So how can we culminate that

[00:09:24] interest into a full fledged

[00:09:26] vocation

[00:09:27] is so important today

[00:09:29] But you have a problem

[00:09:31] that someone has asked you

[00:09:33] whether you're a designer

[00:09:34] but what do you do

[00:09:35] I must give you a very funny anecdote

[00:09:37] in the industry

[00:09:38] what happened was

[00:09:40] we had this complete disconnect

[00:09:42] from mainstream fashion

[00:09:43] and film fashion

[00:09:44] So filmy

[00:09:46] You don't wear filmy costumes

[00:09:48] No, we don't

[00:09:49] We don't need filmy costumes

[00:09:51] But then

[00:09:52] eventually the call to action was

[00:09:54] that you will make this film a blouse

[00:09:56] you know

[00:09:57] make it a mirror's off shoulder

[00:09:58] make it a blouse

[00:09:59] or a dark off shoulder

[00:10:00] make it a blouse

[00:10:01] which is made of rice

[00:10:02] but that used to come

[00:10:04] However

[00:10:05] at that point in time

[00:10:06] we had a lot of

[00:10:07] star sisters

[00:10:09] friends who were doing clothes

[00:10:10] for the actors

[00:10:12] and very few

[00:10:14] stalwarts who actually knew the work

[00:10:16] you know like

[00:10:18] like Bhanu Hathayaji

[00:10:19] or like Shalini Shyamani Robadi

[00:10:21] these were

[00:10:22] the big ones

[00:10:24] So I remember meeting

[00:10:26] Bhanu Ji at one shoot

[00:10:29] and she thought

[00:10:31] I was the star

[00:10:33] friend who was there

[00:10:34] who was making clothes

[00:10:36] and she sat with me

[00:10:37] and she said

[00:10:38] do you know what goes into

[00:10:39] fashion design

[00:10:40] do you even realize

[00:10:42] you guys

[00:10:43] make this in a fun business

[00:10:45] and

[00:10:46] there is so much seriousness to

[00:10:48] what comes on the screen

[00:10:49] because it remains for years together

[00:10:51] and

[00:10:53] just because you want to

[00:10:55] pursue this as a hobby

[00:10:56] you just take it up

[00:10:58] and you create

[00:10:59] sometimes you create a mess

[00:11:01] you see the colors

[00:11:02] color use

[00:11:03] the structure use

[00:11:04] and I was quietly listening to her

[00:11:06] I'm like oh my god

[00:11:08] I was getting

[00:11:10] a full load on

[00:11:12] the whole structure

[00:11:14] of the industry at that point in time

[00:11:16] and she said

[00:11:17] we as designers who are

[00:11:19] educated in this

[00:11:21] sometimes it's very frustrating to

[00:11:23] see you people mess it up like this

[00:11:25] Oh god

[00:11:26] she was telling you all of this

[00:11:28] and I was like

[00:11:29] very humbly listening to her

[00:11:31] and very quietly and then I said

[00:11:33] ma'am

[00:11:34] I'm not

[00:11:35] her friend or sister

[00:11:37] or anybody I've studied fashion

[00:11:39] and I have just started

[00:11:41] my career and

[00:11:44] you know

[00:11:45] I've understood how costuming works

[00:11:48] so she

[00:11:49] there was a very warm smile on her face

[00:11:51] and she said yes because that is what's

[00:11:53] important in the industry

[00:11:54] and the need of the hour of this

[00:11:56] industry is to have people who

[00:11:58] are educated

[00:12:00] and who understand techniques of clothes

[00:12:02] you know and

[00:12:03] if that is what you are doing

[00:12:05] you will really go a long way

[00:12:07] and today

[00:12:08] the industry calls me a costume technician

[00:12:10] more than a fashion designer

[00:12:12] or a costume designer

[00:12:13] what's the difference between a technician

[00:12:15] and a designer

[00:12:17] a technician is someone who knows

[00:12:19] the holistic

[00:12:21] work

[00:12:22] and if I'm

[00:12:23] put onto

[00:12:24] a situation on the set

[00:12:26] and I have to make something I will make it

[00:12:28] on the spot

[00:12:29] I can cut it I can stitch it

[00:12:31] I know exactly what technique is required for

[00:12:33] the type I know what colors will go with

[00:12:35] with the background that's

[00:12:37] been suggested I can suggest

[00:12:39] that I can hear a song and create

[00:12:41] a costume

[00:12:43] sketch

[00:12:44] listening to the song

[00:12:45] this was very fondly

[00:12:47] this costume

[00:12:49] technician

[00:12:50] the name was given to me very fondly

[00:12:52] by the lady Shri Yastuapra Ji

[00:12:54] and Manmohan Singh Ji

[00:12:57] Yastuapra reminds me of

[00:12:59] a time

[00:13:00] which I heard

[00:13:02] you say in one of your interviews

[00:13:04] that

[00:13:05] when you went to meet him

[00:13:08] he looked at you and then

[00:13:10] Shri Devi Kodne called

[00:13:12] and then he's like

[00:13:13] what will she make of her clothes

[00:13:14] this is the western thing

[00:13:15] he called her in front of me

[00:13:17] in front of me

[00:13:18] tell us more about that

[00:13:19] what was the setting like

[00:13:21] so

[00:13:22] Shri Devi sent me to

[00:13:24] meet with him

[00:13:25] and

[00:13:27] she wanted me to do

[00:13:29] clothes and

[00:13:31] I went and I met him

[00:13:33] and I was in my regular

[00:13:35] work clothes which is a suit

[00:13:37] and he looked at me and he said

[00:13:40] do you know how to make desi clothes

[00:13:42] I said

[00:13:43] I looked at him and at first

[00:13:44] I was dumbstruck

[00:13:45] I didn't know what to say to him

[00:13:46] so I kept quiet

[00:13:48] and then he called Shri Devi

[00:13:50] you sent this girl

[00:13:52] what will she make of her clothes

[00:13:54] she came in the suit

[00:13:56] so she must have known

[00:13:58] how to make clothes

[00:14:00] so I don't know what the conversation was there

[00:14:03] and then

[00:14:04] he said let's try

[00:14:06] and this was all in front of you

[00:14:08] he was in front of me

[00:14:09] and then what were the words of

[00:14:10] Yash Chopra after seeing your products

[00:14:12] he just patted me on the back

[00:14:14] and he was like fantastic

[00:14:16] you know

[00:14:17] and subsequently the films

[00:14:19] I did Lamee and Dar

[00:14:21] Dar also we had a similar situation

[00:14:23] but he was always

[00:14:25] if there was anything he required

[00:14:27] he would just pick up the phone

[00:14:29] and tell me that this dress needs to be made in 2 hours

[00:14:31] 2 hours

[00:14:33] and I would make it

[00:14:35] just in 2 hours

[00:14:36] 2 and a half hours yes

[00:14:38] can you tell us about one of these incidents

[00:14:40] so we were shooting for Dar

[00:14:42] the Tandav song of Juhi

[00:14:44] in the film

[00:14:46] that 10 minute thing

[00:14:48] and I think initially

[00:14:50] we had decided that

[00:14:52] Juhi would wear the outfit

[00:14:54] that was wearing in the previous scene

[00:14:57] and then

[00:14:59] I think Manvon Singh Ji

[00:15:00] and he decided that no

[00:15:02] it should be something different

[00:15:04] because it's from her perspective of

[00:15:06] her thought process

[00:15:08] so

[00:15:10] I get this call

[00:15:12] at about

[00:15:14] 12 in the afternoon

[00:15:16] Kao

[00:15:18] I said I am at home sir

[00:15:20] I am just getting things ready

[00:15:22] and he said ok

[00:15:24] you come to Kamala Murari Studios

[00:15:26] I said ok I went there

[00:15:28] and Manji and he was sitting there

[00:15:30] having tea

[00:15:32] and they said

[00:15:33] dress bani I said ok sir

[00:15:35] you thought that it is ok

[00:15:37] I was like ok

[00:15:39] so he is like

[00:15:41] he is asking me to have tea

[00:15:43] I said no and Manvon Singh Ji

[00:15:45] was laughing

[00:15:46] Manji was the cameraman

[00:15:48] and

[00:15:50] he said

[00:15:52] he will make this dress

[00:15:54] I said yes sir why are you asking me this

[00:15:56] Singh Ji we are shooting after lunch break

[00:15:58] I looked at both of them

[00:16:00] Manji was still laughing about it

[00:16:02] and he said

[00:16:04] you go and start

[00:16:06] sir

[00:16:08] come by 2.30

[00:16:10] at 3.30 in the morning

[00:16:12] and this chatting was at 12 o'clock

[00:16:14] yeah this was at 12

[00:16:16] and mind you we have no

[00:16:18] phones nothing at that point in time

[00:16:20] so I called my office

[00:16:22] and made a call from there

[00:16:24] and I spoke to them

[00:16:26] and those days whenever you were shooting

[00:16:28] inside the studio

[00:16:30] wherever the producer

[00:16:32] and the director used to sit

[00:16:34] when they were outside the studio

[00:16:36] they used to be a phone over they kept

[00:16:38] on a little table or something

[00:16:40] and the connection was done

[00:16:42] so I called and I told them

[00:16:44] what to get ready

[00:16:46] for the next few minutes

[00:16:48] because from there to drive to my house

[00:16:50] my workshop is about 20-25 minutes

[00:16:52] so we have to make it

[00:16:54] and when we got the dress ready

[00:16:56] and I reached

[00:16:58] at 2.30 to 4.45

[00:17:00] back with the dress

[00:17:02] that's the kind of work we used to do

[00:17:04] but what all did you do in these

[00:17:06] 2 hours to get it ready

[00:17:08] and then if it takes only 2 hours

[00:17:10] then how do you manage to do it

[00:17:12] suppose a longer time

[00:17:14] I am one of the designers

[00:17:16] who has worked on almost 200 films

[00:17:18] up until

[00:17:20] Hamdil Le Chukya Sanam

[00:17:22] where I had one assistant

[00:17:24] and Devdas where I had 4 assistants

[00:17:26] and the assistant

[00:17:28] therapy of work started

[00:17:30] only around that time

[00:17:32] and I was the only designer

[00:17:34] who used to travel abroad

[00:17:36] to pick up accessories

[00:17:38] and outfits

[00:17:40] so Jodhva

[00:17:42] TV number one

[00:17:44] and all these kind of films that I have done

[00:17:46] is only on the basis of

[00:17:48] being able to prep clothes

[00:17:50] and being able to style them

[00:17:52] because of my background of

[00:17:54] styling

[00:17:56] so you know how to put things together

[00:17:58] and everything at that point in time

[00:18:00] I used to have everything ready

[00:18:02] at hand like I said

[00:18:04] I always invested in my money

[00:18:06] into buying things

[00:18:08] for my work

[00:18:10] I had to keep some fabrics ready

[00:18:12] with me at all times

[00:18:14] so whites were always there

[00:18:16] lycra was always there

[00:18:18] and sequences were always there

[00:18:20] so I used to

[00:18:22] coordinate and mix and match

[00:18:24] and make things and whatever was not there

[00:18:26] immediately

[00:18:28] somebody was sent

[00:18:30] to pick it up and come back

[00:18:32] or I would drive myself

[00:18:34] to go pick it up and come back

[00:18:36] so we used to have one or two

[00:18:38] boys and that's about it

[00:18:40] but has there been a time

[00:18:42] when people have come to know

[00:18:44] that you make dresses in only 2 hours

[00:18:46] so they also started demanding

[00:18:48] that we should also wear dresses

[00:18:50] oh yes

[00:18:52] Gungad Ki Aar Se Song

[00:18:54] for Hameer I Pyaar Ke Over Night 3 Outfits

[00:18:56] the industry knew that

[00:18:58] whatever we have to make

[00:19:00] we can tell her to make and she will do it

[00:19:02] have you ever tried to get in a car

[00:19:04] or did you go somewhere

[00:19:06] and you were in a backseat stitching

[00:19:08] really? oh yes we have also sat

[00:19:10] outside the airport

[00:19:12] and stitched

[00:19:14] when was this and what was this for

[00:19:16] this was quite some time

[00:19:18] back and

[00:19:20] I was making clothes for this

[00:19:22] south Indian film called Jagadika Veerudu

[00:19:24] Atiloka Sundari

[00:19:26] that's a very big name

[00:19:28] yes, Armi Urabsara

[00:19:30] you must see it

[00:19:32] some of the most cutting edge clothes

[00:19:34] even today have become

[00:19:36] a source of inspiration for many directors

[00:19:38] so yeah that was a film

[00:19:40] and we could not

[00:19:42] finish the costume on time

[00:19:44] because there is a lot of detailing in that

[00:19:46] lot of detailing

[00:19:48] so the construction

[00:19:50] had to be it was stacked

[00:19:52] it had to be just finalized

[00:19:54] and

[00:19:56] my master G

[00:19:58] was sitting with one car he got in the backseat

[00:20:00] and they were stitching

[00:20:02] till the car was standing

[00:20:04] and they were still stitching

[00:20:06] till the time the cops came and told us

[00:20:08] that the car had to be removed

[00:20:10] so I had to get them out

[00:20:12] we all three ran

[00:20:14] to the airport

[00:20:16] outside the airport they were sitting on the footpath

[00:20:18] and stitching it

[00:20:20] let's just finish it on time

[00:20:22] and we did

[00:20:24] why were you all sitting at the airport

[00:20:26] waiting for

[00:20:28] the team to arrive

[00:20:30] and we had to complete the clothes

[00:20:32] till the time the team

[00:20:34] didn't arrive we had that much 5 minutes

[00:20:36] or 4 minutes every second

[00:20:38] counted so we were just finishing all the last

[00:20:40] minute things and packing it

[00:20:42] in the bag and giving it away

[00:20:44] I mean there is crazy amount of

[00:20:46] things that you do when you have to complete

[00:20:48] clothes on time so yeah

[00:20:50] this was one of those

[00:20:52] this is good that you could do it

[00:20:54] on time

[00:20:56] sometimes it happened that

[00:20:58] you had to give it on time but it didn't happen

[00:21:00] and then what was the outcome of it

[00:21:02] no such thing never happened

[00:21:04] touch wood

[00:21:06] never there is a lot of

[00:21:08] technicality that goes into

[00:21:10] even cutting the garments

[00:21:12] and stitching it in a way

[00:21:14] that you can speed in that process

[00:21:16] if you don't have time

[00:21:18] when you have time sky is the limit

[00:21:20] you were going to be fired

[00:21:22] from Bollywood when you started

[00:21:24] so tell us about that story

[00:21:26] so

[00:21:28] my first was Tamacha

[00:21:30] and my first costume which was

[00:21:32] a very very extensive

[00:21:34] song

[00:21:36] 100 people on the set dancers

[00:21:38] and Amrita Singh

[00:21:40] and Bhanupriya

[00:21:42] and Kimi Kathkar

[00:21:44] all of them and the first

[00:21:46] day was only

[00:21:48] Kimi Kathkar shooting and

[00:21:50] I had sketched this gorgeous

[00:21:52] white outfit with a lot

[00:21:54] of mirror work and stuff like that

[00:21:56] and she they loved the sketch

[00:21:58] so

[00:22:00] I made the outfit and

[00:22:02] I come from a mainstream fashion

[00:22:04] background so the cut was

[00:22:06] according to what

[00:22:08] you know you me or anybody could wear it

[00:22:10] and I took the outfit

[00:22:12] on set

[00:22:14] 9.30 in the morning and

[00:22:16] the dress went in

[00:22:18] and Kimi Kathkar's mom came out

[00:22:20] and she said come here

[00:22:22] I went in and she

[00:22:24] said is this how you make an

[00:22:26] outfit don't you know the difference

[00:22:28] in what is required in film costumes

[00:22:30] and what is this you've done

[00:22:32] I mean

[00:22:34] my daughter cannot wear this

[00:22:36] and the shoot got cancelled

[00:22:38] and I was like

[00:22:40] I didn't know what to do I

[00:22:42] took the dress and I was almost

[00:22:44] like I think my careers ended

[00:22:46] before it even started as I came out

[00:22:48] I had tears in my eyes my face

[00:22:50] so I just read and

[00:22:52] there was this old master

[00:22:54] who was standing there and he

[00:22:56] because by then everybody had heard

[00:22:58] about this and they didn't know

[00:23:00] what to do because she had to be cancelled

[00:23:02] so he came to me and said

[00:23:04] what happened

[00:23:06] I showed him the dress

[00:23:08] I didn't say anything I just showed him the dress

[00:23:10] he looked at it and he said

[00:23:12] you made the dress

[00:23:14] for ordinary people

[00:23:16] it's not for film costume

[00:23:18] so he said

[00:23:20] you come to my workshop

[00:23:22] and I'll show you what's to be done

[00:23:24] I was like

[00:23:26] I was like

[00:23:28] you think I'll be able to come here tomorrow

[00:23:30] and

[00:23:32] you know so

[00:23:34] anyway around 4 for 30

[00:23:36] I went to his workshop

[00:23:38] in the evening and he had

[00:23:40] opened up the whole piece very carefully

[00:23:42] he had opened it out and he showed me

[00:23:44] see this is the way it's to be cut

[00:23:46] this is mainstream cut

[00:23:48] and this is how you have to do a costuming cut

[00:23:50] you know and he showed me that

[00:23:52] and I sat with him

[00:23:54] because I was so intrigued

[00:23:56] I had never seen something like this

[00:23:58] I sat with him through the night

[00:24:00] at 9 in the morning the next day

[00:24:02] I took the outfit

[00:24:04] for shoot

[00:24:06] she took it in and again she called me

[00:24:08] she said come here

[00:24:10] wait wait what did you anticipate

[00:24:12] I was anticipating the worst

[00:24:14] I said

[00:24:16] again she's called me

[00:24:18] in the same way

[00:24:20] she said you got this done

[00:24:22] I said yes ma'am

[00:24:24] any problem so she says

[00:24:26] it's wonderful the fit is absolutely perfect

[00:24:28] and she kissed me on my forehead

[00:24:30] and she said you will go a long way

[00:24:32] so

[00:24:34] since then till today

[00:24:36] I'm hoping another more 40 years

[00:24:38] to go yeah I'm sure the legacy

[00:24:40] will continue

[00:24:42] it will for sure

[00:24:44] but for the legacy to continue

[00:24:46] would you want others to stitch

[00:24:48] in your brand name

[00:24:50] or would you

[00:24:52] think that till I get to the point

[00:24:54] that this brand should be made by me

[00:24:56] I think the legacy is all about

[00:24:58] the brand going forward without you

[00:25:00] I still have to find

[00:25:02] like minded

[00:25:04] individuals

[00:25:06] who are not fearful

[00:25:08] of the work that comes to them

[00:25:10] you haven't found yet

[00:25:12] I haven't found yet

[00:25:14] but I don't think it's a difficult

[00:25:16] task I should be able to find

[00:25:18] all the students hearing

[00:25:20] the fashion students

[00:25:22] because I think

[00:25:24] it's about

[00:25:26] fearlessly getting into a conviction

[00:25:28] that you have about your

[00:25:30] work you know it really

[00:25:32] gave me goosebumps when you said

[00:25:34] the story of how your first interaction

[00:25:36] was and how the next day

[00:25:38] changed your own destiny

[00:25:40] you know you didn't rely on

[00:25:42] what was being told to you and then

[00:25:44] go home and just sit over it

[00:25:46] you were like okay how can we do this

[00:25:48] I think Radhika overnight

[00:25:50] I learnt a whole new

[00:25:52] world

[00:25:54] of costumes

[00:25:56] even on set like on Manikarnika

[00:25:58] in half an hour I cooked up

[00:26:00] a whole armor on set

[00:26:02] just half an hour?

[00:26:04] yeah in half an hour

[00:26:06] I don't know how I did that but yes

[00:26:08] we were shooting in Sambar

[00:26:10] for Jodha Akbar

[00:26:12] three hours away from Jaipur

[00:26:14] and nothing over there except

[00:26:16] one Tinka Petey

[00:26:18] and Ashur realized

[00:26:20] Ashutosh Kewarikar the director

[00:26:22] realized that he needed on that day itself

[00:26:24] he needed the commander

[00:26:26] in chief to be there as well

[00:26:28] in the army

[00:26:30] although he was supposed to be there the next day

[00:26:32] so he said what can we do

[00:26:34] he said okay give me some time let me just

[00:26:36] think about it

[00:26:38] and I

[00:26:40] he's like

[00:26:42] let me just think

[00:26:44] so my dress man was there

[00:26:46] I told him

[00:26:48] he said

[00:26:50] I cut up the Petey

[00:26:52] and I made an armor out of the Petey

[00:26:54] you still see it in the film

[00:26:56] I can't believe this

[00:26:58] Ashutosh must be shocked

[00:27:00] everybody there was shocked

[00:27:02] because it was being done in front of their eyes

[00:27:04] oh god

[00:27:06] and the Kari girls were thinking

[00:27:08] that you will make something from inside the Petey

[00:27:10] there was only a dress man

[00:27:12] myself and one or two other dress men

[00:27:14] oh my god you converted the Petey

[00:27:16] into the dress itself

[00:27:18] your stories are like next level

[00:27:20] I don't think so they exist today

[00:27:22] yeah so even

[00:27:24] Mohenjo Daro

[00:27:26] we were shooting at Inbuj

[00:27:28] and I was just walking around

[00:27:30] and I saw all these little

[00:27:32] trinkets

[00:27:34] must have been thrown around

[00:27:36] and then I saw because

[00:27:38] it was Mohenjo Daro

[00:27:40] there were some little skulls

[00:27:42] and little

[00:27:44] dried flowers and stuff which was there

[00:27:46] and feathers and stuff

[00:27:48] which had fallen on the whole

[00:27:50] expanse of the field

[00:27:52] I picked those up and I made

[00:27:54] accessories out of it in fact

[00:27:56] Pooja Higre is wearing that whole headgear

[00:27:58] was done with all the junior artists

[00:28:00] beads and all the stuff that I found

[00:28:02] on the floor and Ashutosh

[00:28:04] loved it so much that he

[00:28:06] actually did a song with that

[00:28:08] whole look

[00:28:10] don't tell me conceptualized

[00:28:12] a song because he loved the look so much

[00:28:14] in fact even Subhash Ji

[00:28:16] Subhash Ghai

[00:28:18] in Tal

[00:28:22] conceptualized the entire

[00:28:24] look of his

[00:28:26] initial his introduction of the song

[00:28:28] on Aishwarya because

[00:28:30] he found the back of the gown

[00:28:32] very interesting

[00:28:34] he was like, he is not singing

[00:28:36] but I am going to put it and

[00:28:38] if you see the song

[00:28:40] her back is to

[00:28:42] the screen

[00:28:44] and you see the entire detail of her back

[00:28:46] and then the song starts

[00:28:48] Wow and you also

[00:28:50] worked with Sanjay Leela Bansali in Devdas

[00:28:52] I mean he is known for his details

[00:28:54] so sometimes it happens that

[00:28:56] you have made all the costumes

[00:28:58] he is like

[00:29:00] you have made it very well

[00:29:02] but can you change the color of this thread

[00:29:04] can you make something else

[00:29:06] with Sanjay you can expect anything

[00:29:08] so Hamdil Dejukesanam

[00:29:10] was

[00:29:12] a cakewalk

[00:29:16] compared to Devdas

[00:29:18] so Devdas the finale

[00:29:20] where Paaro is running

[00:29:22] down the steps and the Paalo is burning

[00:29:24] so

[00:29:26] all our clothes were ready

[00:29:28] it was a puja sari

[00:29:30] it was a red and white sari

[00:29:34] we had just finished

[00:29:36] filming dola re dola

[00:29:38] next day we were supposed to do this

[00:29:40] so

[00:29:42] at about 9 am in the night

[00:29:44] he said let us see the next day's costume

[00:29:48] we got it because it was ready

[00:29:50] and

[00:29:52] he looked at it and said

[00:29:54] I know I told you it has to be a cotton sari

[00:29:56] but the thing is that I have just

[00:29:58] kind of visualized her running down

[00:30:00] the stairs with this paalo burning

[00:30:02] so I need a silk sari

[00:30:04] for the flutter

[00:30:06] and I need

[00:30:08] expanse so I need at least

[00:30:10] 15 meters or whatever

[00:30:12] on this and that was the only

[00:30:14] sari the puja sari that we had done

[00:30:16] a 5.5 meters the rest

[00:30:18] all the sari is in devdas

[00:30:20] about 16 meters 12 meters

[00:30:22] and he said I need 2

[00:30:24] because one burns the other one is there

[00:30:26] I said okay

[00:30:28] he said but what are we going to do now

[00:30:30] how will we manage it

[00:30:32] I said I don't know but can I leave

[00:30:34] so he was like

[00:30:36] but what do you plan to do

[00:30:38] I said I don't know can I leave

[00:30:40] and this is happening in filmistan studio

[00:30:42] go to gao

[00:30:44] no phones no mobiles nothing

[00:30:46] and

[00:30:48] only we had pages

[00:30:50] those days

[00:30:52] so I

[00:30:54] in front of me

[00:30:56] Aishwarya and he have called up Kiran

[00:30:58] Kiran ji Kiran kheer

[00:31:00] and everybody to find out if

[00:31:02] they had 2 identical puja sari

[00:31:04] and all this while I am saying

[00:31:06] Sangeh can I leave

[00:31:08] he said

[00:31:10] okay then they realized that it was

[00:31:12] not available

[00:31:14] by this time it was around 10

[00:31:16] 10 30 at night

[00:31:18] he said okay

[00:31:20] but can I shoot tomorrow

[00:31:22] I said you can shoot tomorrow

[00:31:24] and I left from there I went out

[00:31:26] I went to a phone booth

[00:31:28] and I had paged

[00:31:32] this guy who owns a shop on

[00:31:34] linking road I said

[00:31:36] I am calling you so please pick up

[00:31:38] give me a number he sent me a number

[00:31:40] I called him up

[00:31:42] he said see I need a whole

[00:31:44] thana white fabric I need a silk

[00:31:46] I need 10 meters

[00:31:48] of red silk and I need

[00:31:50] some

[00:31:52] other fabrics so I am coming to your store

[00:31:54] and please open the store

[00:31:56] so he says ma'am I can't open the store

[00:31:58] I am partying

[00:32:00] not in

[00:32:02] Bandra I am in town

[00:32:04] and I can't even go home

[00:32:06] to pick up the keys

[00:32:08] because I am partying

[00:32:10] my father will see me

[00:32:12] I am like

[00:32:14] down a few shorts and stuff

[00:32:16] I said but you now you are done

[00:32:18] if you don't go and get the keys

[00:32:20] I am going to tell your father

[00:32:22] you picked up his soft spot

[00:32:24] I had no other go

[00:32:26] so I said now you decide

[00:32:28] so he said okay okay

[00:32:30] I will do what has to be done

[00:32:32] I have sent my wife up to get the keys

[00:32:34] I said I don't know

[00:32:36] I am reaching from Goregaon

[00:32:38] I will wait there

[00:32:40] you page me when you are

[00:32:42] when you have got the keys or whatever

[00:32:44] and you come

[00:32:46] he came there by 12, 12, 13

[00:32:48] I took the fabrics

[00:32:50] and in the

[00:32:52] interim I had already called

[00:32:54] my embroidery team

[00:32:56] and they had started stitching these small

[00:32:58] borders and sleeves and everything

[00:33:00] we finished everything at

[00:33:02] 6 in the morning to Saari's

[00:33:04] and I reached back in the morning

[00:33:06] for shoot 9.30

[00:33:08] is when we used to always start shoot

[00:33:10] and that's how

[00:33:12] this shoot happened

[00:33:14] what was Anjali Lavan Salli's words

[00:33:16] when you got the

[00:33:18] Saari and he didn't know what would you do

[00:33:20] when you said that I want to leave

[00:33:22] yeah so

[00:33:24] he was obviously ecstatic

[00:33:26] pat on back

[00:33:28] they know then that's how

[00:33:30] they know that you can

[00:33:32] count on this technician

[00:33:34] you seem to be like a

[00:33:36] go-getter

[00:33:38] you also don't know how would you do it

[00:33:40] but you know somewhere that you will do it

[00:33:42] I will do it for sure

[00:33:44] and was this the guy whom you asked to open

[00:33:46] the store familiar with you already

[00:33:48] yeah yeah absolutely

[00:33:50] if there was something new then you feel

[00:33:52] that he would open the store

[00:33:54] no I am not asking you

[00:33:56] but if you know who

[00:33:58] he is not available

[00:34:00] because of my work I used to go to

[00:34:02] and pick up fabrics so people knew

[00:34:04] that's an important point actually

[00:34:06] and how is it that I could

[00:34:08] do so much work in such a little

[00:34:10] span of time

[00:34:12] and no assistance

[00:34:14] I used to go there look at the shop

[00:34:16] all the racks

[00:34:18] and there were times when I used to call and tell them

[00:34:20] your this rack

[00:34:22] on the left side

[00:34:24] this is the rack with 2 numbers

[00:34:26] I want this

[00:34:28] you had a picture memory

[00:34:30] I still do that

[00:34:32] but how is it to work like

[00:34:34] you know with actors

[00:34:36] like Ashwarya and Shri Devi

[00:34:38] you know what was their aura

[00:34:40] because it said that celebrities

[00:34:42] when they enter a room

[00:34:44] they carry an aura with them

[00:34:46] and there is something different about them so how was it

[00:34:48] when you met them or saw them for the first time

[00:34:50] I know that you wouldn't be like

[00:34:52] don't know

[00:34:54] I remember all my assistants

[00:34:56] of Jodhaag Barsingho God

[00:34:58] Ma'am you

[00:35:00] can you come and

[00:35:02] dress them up or whatever I said

[00:35:04] please do to see them transform

[00:35:06] from

[00:35:08] these real people to

[00:35:10] characters to these

[00:35:12] beautiful characters that you see on screen

[00:35:14] is a treat

[00:35:16] that's the one aspect

[00:35:18] that I think

[00:35:20] I see in my interaction with people

[00:35:22] especially we used to see it a lot

[00:35:24] in Shri Devi Ji and

[00:35:26] Ashwarya and a lot more

[00:35:28] other people as well

[00:35:30] Banu Priya, Kimi Khadkar

[00:35:32] simple to the core

[00:35:34] even when they should come to work

[00:35:36] dressed very simply

[00:35:38] but the minute they were in this

[00:35:40] entire look

[00:35:42] bam you know it was

[00:35:44] another world you had entered

[00:35:46] yeah

[00:35:48] but how is it to design for Jodhaag Bhar

[00:35:50] because you had to travel back in time

[00:35:52] and see like what the real

[00:35:54] designs were

[00:35:56] Jodhaag Bhar we could not use a lot of silks and

[00:35:58] brocades you know because

[00:36:00] the cameraman Ketan was

[00:36:02] doing all the work

[00:36:04] on just basic lighting

[00:36:06] there was no artificial lighting

[00:36:08] so if

[00:36:10] we had

[00:36:12] brocades it would shine

[00:36:14] and make the whole look garish

[00:36:16] so we actually

[00:36:18] worked on mull fabric

[00:36:20] and did a lot of detail

[00:36:22] for Jodhaag's

[00:36:24] lehingas

[00:36:26] so we had a very matte finish

[00:36:28] to the lehinga so it wouldn't

[00:36:30] glare out

[00:36:32] and that's how the fabrics were

[00:36:34] made as well so this is

[00:36:36] an interpretation

[00:36:38] that we brought to the table

[00:36:40] and that's probably why you called us costume technician

[00:36:42] because designers won't

[00:36:44] exactly know how this would work

[00:36:46] because you have to really be on the sets

[00:36:48] and understand the effect of everything

[00:36:50] of experience and a lot of learning

[00:36:52] that you get from being

[00:36:54] there doing so much work

[00:36:56] that

[00:36:58] today it comes naturally to me

[00:37:00] like on the set I remember

[00:37:02] that

[00:37:04] Juhi Chawla she used to take care of

[00:37:06] your child

[00:37:08] when you would come on the set so how was that equation

[00:37:10] with Juhi Chawla?

[00:37:12] fabulous equation she was

[00:37:14] very lovely person

[00:37:16] very very lovely

[00:37:18] she was fond of my daughter Nishka

[00:37:20] and my daughter's

[00:37:22] affinity to pinks is thanks to Juhi

[00:37:24] every time

[00:37:26] she travelled out for shoot she would bring something

[00:37:28] pink for her

[00:37:30] and a pink dress, a pink bag

[00:37:32] pink something florals

[00:37:34] so

[00:37:36] Nishka's entire

[00:37:38] demeanor

[00:37:40] and statement is very girly

[00:37:42] it's very like Juhi

[00:37:44] and all her style statement is all about

[00:37:46] opinion and flowers and everything

[00:37:48] Juhi was one person who would look at

[00:37:50] an outfit on a hanger and say

[00:37:52] I am not wearing this

[00:37:54] and I was like atleast wear it

[00:37:56] and see if it looks good or not

[00:37:58] so we used to have a lot of difference of opinion

[00:38:00] like that so

[00:38:02] even if she was upset

[00:38:04] or she was

[00:38:06] waiting for me to do something

[00:38:08] she was busy

[00:38:10] talking to Nishka or playing with Nishka

[00:38:12] so that was the kind of equation we had

[00:38:14] why would she do it? did you ask her?

[00:38:16] no

[00:38:18] I mean there is no reason

[00:38:20] for her to reject it

[00:38:22] and there is no reason for her to accept it

[00:38:24] it's all about the aesthetics

[00:38:26] right? after she wore the dress

[00:38:28] she said no it looks good

[00:38:30] I wear it

[00:38:32] and you had to convince her to please wear it

[00:38:34] and see how it looks

[00:38:36] so this was the only one person

[00:38:38] with whom this

[00:38:40] would happen but the rest

[00:38:42] we would discuss with them

[00:38:44] like even Jui once you discussed

[00:38:46] there were times when she used to say you wear the outfit

[00:38:48] and show me if it looks good I will wear it

[00:38:50] I am like what's wrong with you

[00:38:52] so that is the kind of conradery

[00:38:54] we had

[00:38:56] and you also designed the wedding dress

[00:38:58] of Aishwarya

[00:39:00] which people assumed is like

[00:39:02] crores of rupees

[00:39:04] actually I did so much money

[00:39:06] and why did you do that?

[00:39:08] what was the reason for that dress?

[00:39:10] there was no reason for that

[00:39:12] there was no reason for that

[00:39:14] I mean it is a regular kanji but I am sorry

[00:39:16] and there is a regular blouse

[00:39:18] with little bit of

[00:39:20] zari work so you do the math

[00:39:22] tell me how does this equation

[00:39:24] work with celebrities

[00:39:26] when they actually want you

[00:39:28] to design for their personal occasions

[00:39:30] like weddings which is like the biggest

[00:39:32] in life

[00:39:34] so how did your equation with Aishwarya

[00:39:36] start was it with the movie Devdas

[00:39:38] where she got to know about you and your designs?

[00:39:40] no

[00:39:42] my equation with her started when

[00:39:44] I

[00:39:46] styled her for her first

[00:39:48] look test

[00:39:50] with Yash Chopra ji

[00:39:52] okay which was for which movie

[00:39:54] she was supposed to do Dhar

[00:39:56] then she went off for the Miss World pageant

[00:39:58] and then after that when she came back

[00:40:00] because of my

[00:40:02] interaction and making her understand

[00:40:04] the kind of work

[00:40:06] that was required

[00:40:08] she asked me to do her first

[00:40:10] her first film was Iruvar with Mani Ratnam sir

[00:40:12] second film was Jeans

[00:40:14] she asked me to do jeans for her

[00:40:16] but do you think working back then was more easier

[00:40:18] than now when there are too many

[00:40:20] structures in place?

[00:40:22] we were challenged with not having brands

[00:40:24] we were challenged with not having accessory brands

[00:40:26] to easily

[00:40:28] get to style a shoot

[00:40:30] or to style a magazine cover

[00:40:32] everything had to be made from scratch

[00:40:34] it gave us a lot of insight

[00:40:36] into how to do things

[00:40:38] on the job

[00:40:40] it was more hands on approach

[00:40:42] today everything is available

[00:40:44] and it's so easy

[00:40:46] to get things but then the competition

[00:40:48] is on how do you make those things look different

[00:40:50] because everybody has got access to it

[00:40:52] once you become a brand everybody

[00:40:54] wants to use your name to sell

[00:40:56] it into the retail market

[00:40:58] so as I Kaviyu I

[00:41:00] I see people are selling

[00:41:02] you your own first copies only

[00:41:04] so

[00:41:06] Kuli number one I was

[00:41:08] told

[00:41:10] at a small little shop

[00:41:12] that new sarees have come

[00:41:14] you will like it a lot

[00:41:16] no one wants to wear it

[00:41:18] now tell me

[00:41:20] till the time the owner

[00:41:22] of the shop came and gave him one on his head

[00:41:24] and said he made it

[00:41:28] and Dev Das I was in

[00:41:30] the store and I went to the store

[00:41:32] to pick up something for

[00:41:34] the kids

[00:41:36] they told me there are

[00:41:38] these new sarees that have come

[00:41:40] Dev Das and Neeta Lulla personally gives it to us

[00:41:46] every 15 days we get

[00:41:48] new Dev Das sarees you should

[00:41:50] see ma'am come let me show you my collection

[00:41:52] so I said all right

[00:41:54] and I said when you get your next collection

[00:41:56] I gave him my card I said please let me know

[00:41:58] what was his reaction

[00:42:00] after seeing the card

[00:42:02] you can imagine his reaction it's okay

[00:42:04] so it happens very often

[00:42:06] I mean it's okay

[00:42:08] have you also seen people open shops

[00:42:10] in your name

[00:42:12] so there was this little

[00:42:14] shop in Mahiim which said

[00:42:16] Taylor for Neeta Lulla

[00:42:20] till I had to actually tell him

[00:42:22] Bhai tum nikal doh hu naam

[00:42:25] when was this

[00:42:27] about 10 years back I took a

[00:42:29] young

[00:42:31] master

[00:42:33] to do

[00:42:35] clothes for men

[00:42:37] and he was out of

[00:42:39] he was very close to the workshop

[00:42:41] and I started giving him work

[00:42:43] the next thing I see is after 2 months

[00:42:45] he has got Taylor for Neeta Lulla

[00:42:47] oh god

[00:42:49] it happens I mean there's

[00:42:51] all kinds of experiences you have

[00:42:53] it must be so funny for you to watch your own name

[00:42:55] like that

[00:42:57] I was in shock at that point in time I was livid

[00:42:59] so how can you do this

[00:43:01] today I am laughing about it

[00:43:03] but in your bridal collection

[00:43:05] which is very expensive for

[00:43:07] certain category of people yet very aspirational

[00:43:09] so it has happened

[00:43:11] that people have said that

[00:43:13] we have put our honeymoon budget

[00:43:15] in your lehenga

[00:43:17] because we had to wear your Neeta Lulla lehenga

[00:43:19] in marriage

[00:43:21] it happens I am not going to say no

[00:43:23] I am a

[00:43:25] consumer's designer

[00:43:27] in the sense that if you spend that much

[00:43:29] I will not allow you to waste it

[00:43:31] how?

[00:43:33] people come and say

[00:43:35] oh this is expensive

[00:43:37] but what is the trend

[00:43:39] we will make it from that

[00:43:41] it's not about that

[00:43:43] it's about understanding

[00:43:45] what you will look good in

[00:43:47] what is the color that you will wear later

[00:43:49] and what is it that

[00:43:51] after removing it from 20 years later

[00:43:53] from your wardrobe also you want to wear it

[00:43:55] you like it

[00:43:57] and that's what a lot of

[00:43:59] brides who have dressed

[00:44:01] even after 20 years I may not recognize the face

[00:44:03] will come and say you made this outfit then

[00:44:05] and I still wear it and it still look good

[00:44:07] it looks good and it's still

[00:44:09] in fashion it's only because

[00:44:11] of the fact that I work with the style

[00:44:13] statement of the consumer

[00:44:15] and I keeps an element of

[00:44:17] classicism in the clothes

[00:44:19] because these expensive clothes are like jewelry pieces

[00:44:21] yeah

[00:44:23] and you want to wear it

[00:44:25] you want to hand me down to your daughter

[00:44:27] or your son or your

[00:44:29] grandchildren

[00:44:31] there is still a lot of institutional bias

[00:44:33] for people who have done it from the nifty

[00:44:35] they will get to work with big designers

[00:44:37] there are some people

[00:44:39] who only choose people with that degree

[00:44:41] how is that with you

[00:44:43] what kind of team members do you hire

[00:44:45] what pedigree do you look at

[00:44:47] I am asking you this seriously

[00:44:49] is that so

[00:44:51] as an academician

[00:44:53] I will tell you that

[00:44:55] there are two sets

[00:44:57] classical sets of students

[00:44:59] students coming from

[00:45:01] metro cities

[00:45:03] Amor

[00:45:05] business, styling

[00:45:07] design inclined

[00:45:09] and students coming from

[00:45:11] tier 2 and tier 3 cities

[00:45:13] Amor craft inclined

[00:45:15] and that is the scheme of requirements

[00:45:17] for people who can work with you

[00:45:19] I know bold and rebel is one

[00:45:21] that's a given

[00:45:23] what skill sets do you look at

[00:45:25] common sense and the ability to

[00:45:27] just go forward with

[00:45:29] a conviction to do it

[00:45:31] complete a task

[00:45:33] would I hire a person who comes and tells me

[00:45:35] I am very happy to work with you

[00:45:37] but I want to work on this

[00:45:39] this this this

[00:45:41] or would I pick up a student

[00:45:43] I know about this about your brand

[00:45:45] and I am

[00:45:47] I have understood the ethos

[00:45:49] and the ethics of the brand

[00:45:51] and I am ready to work with it

[00:45:53] which one would you pick up

[00:45:55] yeah of course the latter

[00:45:57] so that's what it is

[00:45:59] have you ever thought of taking private equity money

[00:46:01] into your business like Anita Dongresh

[00:46:03] she has grown it into a very

[00:46:05] big brand taking money

[00:46:07] from private equity giants like

[00:46:09] General Atlantic

[00:46:11] and I am noticing your business growing in that segment

[00:46:13] so I am

[00:46:15] featuring this

[00:46:17] in the scheme of things

[00:46:19] for going forward

[00:46:21] and I think we should be doing it very soon

[00:46:23] oh lovely so how many stores

[00:46:25] do we have now Pan India

[00:46:27] we had two stores

[00:46:29] two flagship stores

[00:46:31] and we retail out of a whole load of

[00:46:33] stores

[00:46:35] but now we have one store

[00:46:37] Mumbai and we are in the process

[00:46:39] of getting into more stores

[00:46:41] there are stores like Purnias popup

[00:46:43] which is like some total

[00:46:45] of all the brands do you think that

[00:46:47] putting your brand there

[00:46:49] makes it more visible and you get more

[00:46:51] sales from there or having your own

[00:46:53] exclusive store

[00:46:55] is more better in terms of

[00:46:57] making the sales

[00:46:59] from where is the revenue more

[00:47:01] so depends on what

[00:47:03] part of your brand you are retailing

[00:47:05] out of there

[00:47:07] a Neetha Lulla Kuttyour will not be at any of the brands

[00:47:09] just only at your store

[00:47:11] but a Nishkva Neetha Lulla will be in all these

[00:47:13] brands

[00:47:15] because anyway the sweet spot

[00:47:17] of your sale is a particular

[00:47:19] price point

[00:47:21] and if it is

[00:47:23] adhering to the same price point

[00:47:25] with the retail

[00:47:27] stores that you work with

[00:47:29] then you work with them

[00:47:31] do you think people ultimately would want to touch and feel

[00:47:33] your product before buying

[00:47:35] Kuttyour Garment is always about

[00:47:37] touch and feel

[00:47:39] because you will not buy jewelry online

[00:47:41] you won't spend 6

[00:47:43] lakhs and 10 lakhs

[00:47:45] 20 lakhs on jewelry online

[00:47:47] you want to go feel it

[00:47:49] feel it here look at it

[00:47:51] make 10 people see it

[00:47:53] and get it approved and then so it's the same

[00:47:55] how much pressure do you have

[00:47:57] to reinvent

[00:47:59] as per the changing trends

[00:48:01] and the fast moving world

[00:48:03] I had a pressure of not reinventing

[00:48:05] I never had a pressure of reinventing

[00:48:09] because I am a person who gets

[00:48:11] very bored with

[00:48:13] stagnancy

[00:48:15] of creating the same thing over and over

[00:48:17] season after season after season

[00:48:19] in fact I remember

[00:48:21] I had a few

[00:48:23] people from the media

[00:48:25] saying that oh she

[00:48:27] doesn't know what

[00:48:29] to make so she is constantly

[00:48:31] making different things

[00:48:33] but as a Kuttyour

[00:48:35] reinventing is what is important

[00:48:39] you are not making mass produced clothes

[00:48:41] you can't make 100 of one

[00:48:43] outfit and then sell it

[00:48:45] and say it's Kuttyour

[00:48:47] because Kuttyour is a completely different ball game

[00:48:49] you are dealing with a client

[00:48:51] you are dealing with innovative

[00:48:53] silhouettes and structures and fabrics

[00:48:55] and cuts and finishes

[00:48:57] and that is what it is

[00:48:59] I have a certain philosophy

[00:49:01] which is constant

[00:49:03] which is stagnant

[00:49:05] which has started

[00:49:07] ever since I was in college

[00:49:09] what my calling is

[00:49:11] like I say you have to introspect and understand

[00:49:13] what your calling is

[00:49:15] my calling was always about

[00:49:17] incorporating Edwardian romantic silhouettes

[00:49:19] like ruffles, frills

[00:49:21] off shoulders

[00:49:23] and necklines

[00:49:25] and stuff with a lot of

[00:49:27] renaissance motifs

[00:49:29] and colours

[00:49:31] and making it Indian at heart

[00:49:33] which is my label

[00:49:35] as well which is Neetarula

[00:49:37] Indian at heart or proudly Indian

[00:49:39] which has

[00:49:41] Indian elements

[00:49:43] of fabric like a brocade

[00:49:45] but the motifs on the brocade

[00:49:47] will be renaissance inspired

[00:49:49] and the cuts

[00:49:51] on the Gleinga will be offshouldered

[00:49:53] or corseted

[00:49:55] these are the kind of things that

[00:49:57] I work with

[00:49:59] what is the season like for you

[00:50:01] for me right now it is about

[00:50:03] bold is beautiful

[00:50:05] romantic is

[00:50:07] flirty and sensuous

[00:50:09] so my coming Gleinga's are going to be

[00:50:11] working

[00:50:13] towards that

[00:50:15] you also did a campaign around

[00:50:17] girls being magical and wonderful

[00:50:19] which you presented at Lakmay Fashion Week

[00:50:21] because you are out there in the glamour field

[00:50:23] it is important that you

[00:50:25] voice

[00:50:27] certain

[00:50:29] issues or statements that the society

[00:50:31] is facing

[00:50:33] so I have done a lot of shows

[00:50:35] which have been inspired

[00:50:37] by issues

[00:50:39] that women face

[00:50:41] whether it is female fetus side, women empowerment

[00:50:45] women power

[00:50:47] a lot of these

[00:50:49] kind of topics I have touched upon

[00:50:51] those have been my inspirations

[00:50:53] what kind of waves does it create

[00:50:55] after you do that

[00:50:57] it creates a lot of ripples

[00:50:59] what is the outcome of it

[00:51:01] my collection for female fetus side

[00:51:03] that I had done

[00:51:05] was so well received

[00:51:07] that

[00:51:09] the media in London wrote about it

[00:51:11] and I was invited to Rome to showcase the

[00:51:13] collection

[00:51:15] at the Rome Fashion Week

[00:51:17] I also wanted to touch on this topic

[00:51:19] which Urfi Javed

[00:51:21] is

[00:51:23] portraying into the media

[00:51:25] what is your take on her fashion

[00:51:27] it is a new look

[00:51:29] I think Urfi has a very strong

[00:51:31] statement to make

[00:51:33] I think what she is doing

[00:51:35] creatively what she is trying to bring

[00:51:37] to the table for her own

[00:51:39] work

[00:51:41] for her own style statement

[00:51:43] I think she is very strong

[00:51:45] and her carriage is fabulous

[00:51:47] with so much style

[00:51:49] and so much confidence

[00:51:51] it is commendable

[00:51:53] why do we not have

[00:51:55] any Indian label

[00:51:57] become as big as what Prada is now

[00:51:59] it was also started by

[00:52:01] a young women designer

[00:52:03] when she started out

[00:52:05] why don't we have an aspirational brand coming from India

[00:52:07] which is known globally now

[00:52:09] like Neera Modi in his time

[00:52:11] although leaving the scam aside

[00:52:13] he had created that global image for himself

[00:52:15] and all his posters also on Times Square

[00:52:17] it was an aspirational brand

[00:52:19] what will it take for us to showcase

[00:52:21] our Indian designs

[00:52:23] globally in a way that people want to

[00:52:25] buy it like they want to buy Louis Vuitton

[00:52:27] why is it that international designers

[00:52:29] don't have weaving

[00:52:31] yeah that's our culture

[00:52:35] so we have grown up

[00:52:37] to that culture right

[00:52:39] now

[00:52:41] internationally they have grown up to the culture of

[00:52:43] design

[00:52:45] they have not grown up to the culture of weaving

[00:52:49] now a lot of international designers

[00:52:51] are using woven fabrics

[00:52:53] which are coming out of

[00:52:55] India embroideries that are being

[00:52:57] sourced out of India

[00:52:59] so the awareness is there

[00:53:01] so it's only a matter of time

[00:53:03] when the awareness to Indian designers

[00:53:05] is going to be out there

[00:53:07] and a company will probably

[00:53:09] pick them up and bring them on

[00:53:11] on the international scenario

[00:53:13] and we are coming of age

[00:53:15] and that is the reason I always say

[00:53:17] that India

[00:53:19] needs an industry that is supportive

[00:53:21] through the craft

[00:53:23] and how is your inventory like

[00:53:25] how do you decide

[00:53:27] this collection has to be off the shelf

[00:53:29] we now work with

[00:53:31] season to season

[00:53:33] earlier we used to work with spring

[00:53:35] summer, autumn

[00:53:37] like they did in

[00:53:39] internationally

[00:53:41] but now we work with our bridal season

[00:53:43] because if you are a kothya brand

[00:53:45] you are working bridal season to bridal season

[00:53:47] if you are a thread brand

[00:53:49] you are working summer and winter

[00:53:51] on that note I really thank you for coming

[00:53:53] and giving your time

[00:53:55] and I also want to ask

[00:53:57] people who come here

[00:53:59] who are authors they get the books

[00:54:01] people who are chefs they get macarons

[00:54:03] have you brought a dress for me

[00:54:05] I haven't got your address

[00:54:07] Radhika but yes you are most welcome

[00:54:09] to pick up something from nature

[00:54:11] I am kidding I am just kidding

[00:54:15] Thank you for listening to this conversation

[00:54:21] I hope it allowed you to dive deep

[00:54:23] into the mind of a senior women leader

[00:54:25] we are hopeful to see more such women

[00:54:27] leaders in the future

[00:54:29] who have piped up the norm

[00:54:31] if you loved this episode please share it with your friends

[00:54:33] who might be fundraising or building a business

[00:54:35] also tell us if you have any questions

[00:54:37] that you would like us to ask our women leaders

[00:54:39] till then stay tuned for our episodes

[00:54:41] where we speak with global women leaders

[00:54:43] from countries like Palestine

[00:54:45] Argentina, Mexico, America

[00:54:47] India and others

[00:54:49] Thank you for listening why

[00:55:00] we hope this conversation was helpful

[00:55:02] and allowed you to deep dive into the mind

[00:55:04] of a senior women investor

[00:55:06] we are certain that we will soon see

[00:55:08] more women wiping out the norm

[00:55:10] and becoming senior leaders in investing

[00:55:12] if you think you derived great learnings

[00:55:14] from us in this podcast

[00:55:16] please share it with your friends who might be fundraising

[00:55:18] or are just wanting to get that push

[00:55:20] to get started also tell us

[00:55:22] if there is any questions you would want us

[00:55:24] to ask our transnational women leaders

[00:55:26] in our next interviews

[00:55:28] till then stay tuned for our other episodes

[00:55:30] where we speak with women investors

[00:55:32] from places like Palestine

[00:55:34] Brazil, Argentina

[00:55:36] Mexico and others