Designer Kresha Bajaj on her international debut at Dubai Fashion Week
The Mumbai-based designer on the importance of expanding in the Middle East and designing pret for a global audience
Bespoke has always been a part of designer Kresha Bajaj’s vocabulary, for her father started one of the first bespoke menswear destinations in Mumbai, Badasaab in 1970.
Bajaj is known for her unique “Love Story" lehngas that tell the love story of a couple in embroidery. Earlier in September, she made her international debut, at Dubai Fashion Week, not with lehengas but a prêt collection, called The Archive of Hidden Things.
In an interview with Lounge, Bajaj talks about her debut, the changing international fashion market, and India’s love for lehngas. Edited excerpts:
Why did you chose Dubai to make your international debut?
It’s such a global city with people from everywhere, so it felt like the right place to put my work on an international stage. The audience is open, experimental, and diverse—it gave me the freedom to present something that speaks beyond borders.
Do you see the Middle East as an important market?
Definitely. The Middle East values craftsmanship, detail, and individuality. There’s also a strong culture of couture and occasion-wear here, but at the same time people are fashion-forward and willing to try new things. It’s the perfect place to bridge couture and prêt.
How does the couture market in India compare with what you expect internationally?
In India, couture is deeply tied to weddings and tradition—it’s emotional, celebratory, and often very ornate. Internationally, couture is viewed more as art and personal expression. Both are about storytelling, but the contexts are different. My challenge is to merge the two—keeping the craftsmanship while giving it a global voice.
What’s the biggest difference between designing for the Indian bride and designing prêt for a global audience?
With bridal, the focus is on grandeur and detail—pieces meant for milestone moments. With prêt, it’s about ease, versatility, and wearability. The shift is in proportion and restraint: knowing when to hold back so a piece can be lived in, not just admired.
How do you balance couture craftsmanship with scalability in prêt?
By focusing on what really matters. It’s not about covering every piece with embroidery, but about making sure each piece has one strong element—whether it’s a cut, a finish, or a hidden detail. That way, the soul of couture is there, but it’s practical for prêt.
Your ‘Love Story’ lehnga was a breakthrough idea. Are you experimenting with any new storytelling or techniques now?
Yes. The Archive of Hidden Things is about hidden details and layers. I’m experimenting with garments that reveal something unexpected the closer you look—like corsetry with faceted beading, or scalloped pants that echo vintage cuts but feel modern. The idea is that each piece tells a story, but it’s subtle.
How did the idea of ‘hidden archives’ translate into fabrics, silhouettes, and detailing?
It translated through layering, linings, and construction. We used sheer fabrics to reveal what’s beneath, hidden boning in corsets, embroidery tucked inside seams. The silhouettes move between structured and fluid, so the collection feels like a discovery—every piece has something hidden, waiting to be noticed.
What design or construction detail from this collection excites you most?
The corsetry. We worked on building pieces with exposed boning and faceted beadwork that feel powerful but wearable. It’s that balance between structure and sensuality that excites me most.
Are there artisanal Indian techniques you’ve reinterpreted for international prêt?
Yes, hand-embellishment is a huge part of our DNA, but I reimagined it for a global context. Instead of full embroidery, we focused on placement work, beaded corsets, and details on jackets or trousers. It’s the same craft, just scaled in a way that feels modern and versatile.
Do you see prêt becoming a larger part of your business alongside couture?
Absolutely. Couture will always be the foundation of my brand, but prêt opens the door to a wider audience. It allows me to keep experimenting, to create pieces people can live in every day while still carrying that couture soul.
How do you see your brand evolving globally after this debut?
This is just the beginning. I want to build a space for global clients to experience the brand beyond bridal—whether that’s prêt, accessories, or even interiors down the line. The goal is to keep expanding while staying rooted in craft and storytelling.
How do you make slow fashion work in ready-to-wear?
For me, slow fashion means intention. Even in prêt, every piece is designed to last—not just in quality, but in relevance. We don’t chase trends; we build details, structures, and silhouettes that can move through seasons. It’s about creating pieces you want to keep, not replace.
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