Hyderabad is not just my origin; it is a language, a rhythm, a way of being. Through this look, I aspired to translate that sensibility into a form that could exist effortlessly on a global stage while remaining deeply rooted in the South Indian imagination.
The Tree of Life, envisioned by Manish Malhotra in collaboration with Mariel Haenn, becomes the central metaphor an unfolding of time, memory and continuity. Drawing from the storytelling traditions of Kalamkari, it is reinterpreted here as something sculptural and alive, where every thread holds a fragment of history.
This ensemble is not about nostalgia, it is about evolution. A 3,000-year-old textile tradition is recontextualized through form, texture, and movement: sculpted velvet, antique gold zari, and intricate zardozi come together to create something both archival and immediate.
The motifs Palapitta, Jammi Chettu, Kalpavriksha, Tangedu, Surya, Chandra, Kalpa are not merely decorative; they are markers of identity, fragments of home that travel with me.
What moves me most is the human touch behind it all. Thousands of hours, countless hands, generations of knowledge woven, embroidered and shaped into a single moment.
For me, this is what costume art can be: not just adornment, but a living archive. A way of carrying heritage forward not as something fixed, but as something that continues to grow, transform, and speak.
Tonight, I arrive not just wearing a story, but continuing one.
The art lives in the tradition.
Handcrafted through zardozi, marodi, resham, and intricate metalwork.
Rooted in South Indian heritage, the Tree of Life tells the story, with the peacock India’s national bird as its guardian.
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