Unfolding an opulent treasure box of luxurious details and insightful thoughts on the Indian couture panorama with Shantanu Goenka.

When luxury meets finesse, sparks fly and an almost tangible glow leaves the onlooker spellbound. Such is the impression of Shantanu Goenka’s designs and his deep- rooted aesthetics in the cultural heritage that stems from the creative nexus that is Kolkata. He has mastered the art of traditional techniques, painstakingly intricate embroideries and rare delicate embellishments. Capturing the brilliance of international influence and fusing that with an old-world charm, Shantanu Goenka continues to believe in the power of Indian heritage couture as the industry evolves from a once ‘means of sustenance’ to a ‘driving force’.

FL: Your brand has come to be established as one with an old-world charm that proudly boasts the Kolkata heritage. What makes Kolkata so special in terms of your design sensibilities?

SG: Having grown up in Kolkata I was always surrounded with so much inspiration. Kolkata is deeply rooted in heritage with a rich sense of art and is no doubt a fashion hub. It has also served as the base for other creatives like painters, artists and poets. Artisans here are well trained in embroidery since the early days when Kolkata used to be the old capital of India. When you look around there is a cultural plethora in terms of artistic finesse and old architecture. That being said, there is so much artistic, as well as monumental inspiration to draw from this city that it became a platform for me.

FL: The recent years have not seen you hold a fashion show in any of the major fashion weeks in the country, is there a specific reason for that?

SG: Over the years I have moved towards a very strongly detailed and embroidered collection, and I believe a fashion show does not do justice to such intricate garments that have an abundance of details. We do so much layering, texturing, embroideries that people cannot really grasp the depth of that in one minute. Naturally, I shifted more towards doing installations and pop-ups – mostly in Kolkata – exclusively curated specialising in specific weaves and textiles, like Patola pop-ups, where my revered clients can come and experience the garments instead of just looking at them on a runway.

FL: You once said, “Couture is only a source of sustenance”. Could you tell us what drove you to finally have prêt and diffusion lines?

SG: I believe I said that a long time back, and a lot has changed since then. The industry has evolved into something much larger than we would have imagined. I never really had time to focus on a pret line because I was always busy with couture, but we did do a diffusion line to meet our vast clientele. Having said that, I do not think couture is just a source of sustenance any longer but a driving force in India now.

FL: What according to you defines a signature Shantanu Goenka design?

SG: Impeccable finish, no compromise on quality and intricate embroidery signifies my signature. We give as much emphasis to modern lines with painstakingly old-world charm techniques, as we do to ornate heritage lines. We continue to revive Indian techniques like Kacchi, Chikankari, and Zardozi. One very significant technique is Petit Point which is no longer seen in India and it takes 6-8 months to get one saree border embroidered with this technique. We also indulge in some more modern techniques like Swarovski embroideries.

FL: You seem to have a long-held association with Swarovski. What drove you to decide on the element as part of your creations?

SG: Growing up I was always fascinated with my mom getting ready in all things sparkly. Bollywood was another source of inspiration – especially Zeenat Aman in ‘Qurbani’ with glittery ensembles. Thus, I was always mesmerised by the idea of all that glitters. When I was in NIFT I had these sticker crystals and glitter dusts that I would incorporate in my creations and that just became a staple to my design aesthetic.

FL: What are the challenges that you face as a brand of your stature and high-demand?

SG: I think the biggest challenge that any couturier today faces is the trend of fast fashion. Most youngsters fail to understand the value of heritage couture and the layers of work that goes into it. Plagiarist industry is another factor. As there is no norm for launching a couture label in India, unlike Paris where you have to seek approval from FHCM, everyone becomes a couturier in India with a lot of plagiarised designs.

FL: Is there a specific driving force that you draw your inspiration from?

SG: My foremost driving force is God and my family. The rest follows. My mind wanders to different eras, different countries and cities with rich history and their respective mythologies and aesthetics. My first collection was inspired by Joan of Arc and over the years I subsequently drew inspiration from Queen Elizabeth, Krishna, Marie Antoinette and more. In that regard, I believe it is the rich culture that the world has to offer that drives my creative instincts.

FL: Are there any latest trends in the fashion industry that excite you, or might have just caught your attention?

SG: I believe there are no rules when it comes to fashion, hence I never follow trends. When we look at large, I do not think India follows any trends or the fashion forecast. If a designer launches something and it instantly becomes viral, that eventually sets the tone for the season here. For example, Sabyasachi started the red trend. There was no red in the trend forecast but it became a big thing, it still is. In that sense, he started a whole trend of his own.

FL: What do you think the future of couture is going to be like in a world that is still reeling post-pandemic?

SG: While the entire world is retreating into recession, India is booming. We are nowhere close to recession, and we are getting global recognition. A lot of celebrities are wearing Indian brands on international platforms like Cannes, Met Gala, Oscars and more. And it is only going to reach greater heights from here. We just have to maintain the quality and finish, and we should not let our grip loosen on that so that we continue to remain at par with international designers in the long run.

Text by: Sanskriti Sharma