Tarun Tahiliani on 30 years in fashion and his new couture edit Quintessence

I look back with such gratitude that I ended up—although I wasn’t trained for it—doing something I have loved. And in the process, it was not just about fashion; it was about the ability to stay in a creative world, and it was not something I could have imagined or possibly existed when I was growing up. Secondly, it took me to an India that I never knew or barely knew, and possibly didn’t want to know, which I now love. My engagement with this country has completely changed as a person from the time when I grew up constantly looking over the wall at the West. Many gifts have come to me in these three decades.

The journey had its moments; it was tough in parts, very tough. It still takes a lot of hard work because in fashion, I really believe, it’s one of the toughest businesses. You have to change constantly, and it’s always about embracing the new. But the more you do, the better you get, and those are the learnings. There are many things that I did. For instance, last night, what I did in the show, I wouldn’t have been able to do five years back, even if my mind saw it.

The couture was different when we started. Firstly, we didn’t do couture; we got pushed into it by clients. I wasn’t experienced enough; I didn’t know enough about construction and embroidery, so we kind of learned by falling on our faces. Back then couture was very much like “Oh, I need to wear this; will you design this for me?” Today, it’s very different; we design what we love, and we think about what the market requires in terms of category, and then people come in and walk out of doors, much like it is in the West. I didn’t realise it until 15 years back, and I think, in between, it was just a transition.

The Indian wedding and festive scene have changed completely; it was much simpler and very much rooted in tradition before this new world. There is also a different kind of affluence today, and the ideas of what a wedding should be have changed hugely since the ’90s, partly because of the Bollywood extravaganza, Indians engaging with all royal fantasy, the lack of socialism, global exposure, and much more. I think it’s in our nature as Indians—we are generous, large-hearted, and like all things larger than life. And as I have said before, the Indian wedding is the black tie, the music operas, and everything rolled into one. It’s completely changed. Now one works with stylists, there are image consultants, and there is a makeup artist—almost all of this was nonexistent.

I think the thing that keeps me motivated is that I love what I do, and it’s an evolutionary wheel. So, you can do what your mind imagines, including what it might have imagined 30 years back, which you couldn’t make or construct or do. Also, the market has changed hugely, and that itself is a huge motivator. It’s like being on the drip of your own drug, where you are constantly pursuing your own love. There’s also a lot of pressure because you are being watched completely. I mean, I must say I had 60 interviews yesterday after the show, and that itself puts one under pressure, and finally, whatever you do is up for public judgement. So, you are fine walking many lines, and you have to be super motivated to stay in the game and to constantly hear the sound of your own voice.

We are now going to expand our retail network. We just opened OTT stores in Pune and Juhu, followed by a couple of other locations. After this, our first international store is also coming up, so I am really engaged with all this at the moment.

I think fashion used to be such a personal thing. Fashion went from a functional thing to how one expressed oneself, how one ought to be seen, and an artistic expression. But as the world changed, a lot of fashion became super functional because of lifestyle changes, and therefore, evening or dressing-up functions became much more important and monumental because that’s the only time people dressed up. There was a great structure in fashion and a formality even in day clothes. One never went out, certainly not on a flight, in micro-mini shorts, a torn t-shirt, and rubber chappals. Today, anything goes.

One of the most fascinating shifts in recent years has been the global revival of couture. After decades dominated by ready-to-wear, there’s been a renewed appreciation for craftsmanship, individuality, and the kind of artistry that simply can’t be mass-produced. Internationally, brands like Schiaparelli and Valentino are leading this movement with spectacular, body-specific creations. In India, too, couture has expanded beyond just bridal. It’s a wonderful moment for Indian craftsmanship and a broader return to meaningful, expressive clothing in an age of mass visibility and fleeting trends.

TT Tijori has always been envisioned as an extension of our world—a jewellery line that complements our garments with the same finesse, detail, and India’s modern aesthetic. Initially, we began with Swarovski and silver jewellery, designed as elegant, travel-friendly options. But over time, we saw a growing need among our clients for more considered, coordinated jewellery solutions to wear with our couture and bridal ensembles. This year, we’ve expanded Tijori into the realm of high jewellery. We’re offering an exquisite line of Victorian Jadao-style diamond jewellery, using coloured stones set with delicate finesse. I’ve always been drawn to that old-world craftsmanship—pieces that feel timeless yet light and beautifully refined. There’s a whole new range of chokers and necklaces in this style, designed with our love for colour and layering in mind. We’re also experimenting with large and vibrant lab-grown coloured diamonds as an exploration in design. It brings bold colour and scale into fine jewellery while remaining mindful of value and sustainability.

Besides the couture collection Quintessence, our Autumn/Winter collections have just hit stores, and we’re already immersed in the Spring/Summer 2026 cycle—moodboarding, sketching, refining techniques, and exploring new silhouettes. OTT’s Autumn/Winter is ready and moving into production. Every line we create—whether couture, bridal, menswear, or prêt—is anchored in our idea of modern India. It’s not about starting from scratch each time, but about pushing the boundaries of what we’ve already built.