Kiran Uttam Ghosh (KUG) is more than a label; it embodies a narrative of passion, creativity, and innovation that took root early in the life of its founder and designer, Kiran. As the prêt wear segment undergoes transformation, we invite you to delve into a brief conversation with the creative force behind KUG. Discover Kiran’s profound affection for fabrics, her unique approach to silhouette creation, and gain insights into her vision for the future of prêt wear.
FL: Kiran, could you share the story behind the inception of Kiran Uttam Ghosh (KUG), your distinguished Indian luxury womenswear label?
KG: At the age of 12, I knew that I loved fabrics, and I was happiest working with textiles. Someone once asked me why I create. The truth is, I create for myself and not for anyone else. My creative process is deeply personal, driven by an inner need rather than external validation. I create because it takes the chaos out of my head and onto fabric. It wraps that constant voice in colourful embroideries. Some people get massages, others love food, and I create. And that’s how, in 1995, KUG was born.
FL: As KUG has been garnering attention in the designer wear segment, what motivated you to focus on creating prêt wear that stands out in the industry?
KG: I can’t bring myself to wear outfits that weigh me down in actual weight nor do I like too much happening in one ensemble, even if it’s for a grand Indian wedding. At KUG, we did a lot of heavy sarees and lehengas in our first decade. It helped build our foundations. Then, in 2007, I decided to make outfits that I would be excited to wear to an occasion and started luxury prêt. It felt light yet dressy and interesting enough to appeal to wedding wear shoppers too.
FL: Can you talk a bit about your latest prêt wear collection?
KG: It’s dramatic and sensuous, with metallics, lots of drape, and saturated colours! Our latest prêt collection, The Flamenco Series, is effortless and lightweight, so you can just slip it on and feel fabulous!
FL: Prêt wear is a dynamic and ever-evolving category. How does KUG stay ahead in terms of trends and innovation while maintaining its distinctive design language?
KG: In crafting for KUG, I draw inspiration from my personal style, ensuring that each piece resonates with me, my 21-year-old niece, and even my fashionable 80-year-old aunt. Our designs often feature intricate drapes and layers, sometimes requiring a map to navigate. To make this process easier for our customers, many of our garments now come with detailed instructions or sketches on how to drape them. This dedication to attention to detail allows us to stay ahead in the ever-evolving landscape of prêt wear while maintaining our unique design language.
Ombre Draped Tunic – Top
FL: Prints and patterns often play a vital role in prêt wear. Could you share some insights into the selection and creation process of these elements in your collections?
KG: Prints and patterns are a pivotal part of our prêt wear creations, and my approach to their selection is deeply immersive. I treat the process as a retreat, isolating myself for six to seven days. Apart from one hour of telephonic instructions to my team and meals, I devote all my time to working on designs, often with my karigar or digital print designer. It’s almost like a pilgrimage, where I give it all my thought, energy, and time into the designs. We sample, make changes, and ponder; the process becomes almost cathartic.
FL: Designers often find inspiration in various sources. What are some of the critical influences or inspirations that shape the creative direction of KUG’s prêt wear designs?
KG: My grandmother used to say, ‘There is only one thing worse than being penniless, and that is looking as if you are penniless.’ Her words instilled in us a profound appreciation for the impact of attire on one’s image, a sentiment I carry into the ethos of KUG. After centuries of living in opposite worlds, science and the arts, rational and irrational, real and imagined, are actually coming together. Consumers expect products to not only be functional but also delight and astonish, engage the emotional, and surprise with the unexpected. At KUG, we leverage technology to push the boundaries of design, creating garments that not only meet but exceed the expectations of today’s consumers.
FL: Looking ahead, what are the trends you foresee in the prêt wear segment?
KG: Looking ahead, the changes in the prêt wear segment will be more likely in technology, where it will redefine not just design but also manufacturing, distribution, and merchandising. This will extend to the functionality of materials, enhancing performance while managing costs. We are currently witnessing a unique convergence of scientific and artistic disciplines, fostering innovation and adaptation to recontextualise our understanding of design. In the next five decades, I believe intelligently manufactured and marketed designs will become avaialble to the masses. The boundaries of craft, with its heritage vocabulary like ‘bespoke’ and ‘handmade,’ will have gone further to embrace highly technical elements. These products will still be like to the ithe original old-world pieces but at an economically viable price point.
Looking ahead, the changes in the prêt wear segment will be more likely in technology, where it will redefine not just design but also manufacturing, distribution, and merchandising. This will extend to the functionality of materials, enhancing performance while managing costs. In the next five decades, I believe intelligently manufactured and marketed designs will become available to the masses. With its heritage vocabulary like ‘bespoke’ and ‘handmade,’ the boundaries of craft will have gone further to embrace highly technical elements. These products will still be like the original old-world pieces but at an economically viable price point.