Known for exploring lace and corsetry in gowns and lehngas, Roseroom Couture by Isha Jajodia experimented with an unusual material at its recent India Couture Week showcase in Delhi: hand-moulded clay. Sculpted into delicate floral motifs and embedded within lace, the clay introduced a subtle, three-dimensional texture to the garments.
"It was definitely one of the most time-intensive processes we've undertaken," says Jajodia, who founded the label over a decade ago. "The idea itself took a while to develop because we weren't interested in introducing clay simply because it was different. It had to feel completely integrated into our language."
Lace has remained central to Roseroom's work, with the label previously combining it with techniques such as chikankari and materials like tweed. Jajodia sees the introduction of hand-moulded clay as another step in that ongoing material exploration. "What excites me is that the lace always remains familiar, but the way it evolves keeps changing," she says.
In a conversation with Lounge, Jajodia discusses her love for lace and France, the evolving tastes of the Indian bride, and the wardrobe staples she believes every bride should own. Edited excerpts:
Besides lace, corsetry has become central to your design language. How do you see the corset's role evolving in Indian bridalwear? Is it beginning to replace the traditional blouse, or is it serving a different purpose?
Corsetry runs through the latest collection, but I wouldn't call it a replacement for the blouse… it's more like an addition to how we build Indian silhouettes. We've applied corsetry across sarees, skirts, gowns, tailored jackets and tuxedos, which shows it's less about swapping one garment for another and more about offering another way to give a look structure and shape.
The blouse isn't going anywhere, but yes, people are definitely thinking of reinventing the traditional designs. Also, what corsetry does is give brides and couture clients an alternative silhouette when they want something more sculpted, more Western in construction, without losing the craftsmanship of Indian handwork. So, it's expanding the options rather than replacing anything in it.
Your collections often draw from European romanticism and French architecture. Where does that fascination come from?
Travel has always been one of my biggest sources of inspiration. Paris is a city I find myself returning to because there’s such an incredible appreciation for art, craftsmanship and architecture. But inspiration isn’t limited to one place. It comes from everywhere I go.
Sometimes it’s the intricate detailing of a historic building, sometimes it’s the colours of a landscape or the quiet beauty of a place like Rishikesh. I don’t consciously set out looking for ideas. I think they stay with you without you realising it, and eventually they find their way into the collection. European romanticism has always resonated with me, but I love interpreting those influences through the lens of Indian craftsmanship.
Could you talk about the pieces that were created using clay?
The clay ensembles were among the most time-intensive pieces in the collection because every element was hand-moulded. Beyond the making itself, a great deal of time went into developing the technique and carefully placing each element so it felt organic rather than merely decorative.
The chikankari-and-lace pieces were equally demanding, requiring hours of meticulous handwork. The black tassel look, worn by Avanti Nagrath, was another labour-intensive design, with every tassel handcrafted and each three-dimensional flower stitched petal by petal. Those floral elements were created by women artisans from rural communities whom we connected with through the non-profit Spread the Smile.
What are the new-age bridal essentials?
For me, the essentials go beyond trends. Brides want impeccable craftsmanship and beautiful silhouettes, but they also value ease of movement, versatility and garments that feel true to who they are. They're increasingly choosing timeless design over fleeting trends, thoughtful construction over excessive embellishment, and pieces that carry emotional value as much as aesthetic appeal.w
What have been your key learnings?
Gen Z brides are remarkably self-aware; they are creating their own definition of bridal dressing. Instead of choosing an outfit simply because it's traditional, they're looking for something that reflects their personality and fits naturally into the way they want to celebrate. Even when they opt for dramatic silhouettes or statement pieces, those choices come from a deeply personal place rather than a desire to follow trends. They're embracing colour, unconventional drapes and modern styling, but on their own terms. That's been my biggest learning: today's bride isn't trying to fit into a single idea of what a bride should look like.