On Sunday, at the grand finale of India Couture Week 2025, celebrated designer JJ Valaya unveiled East - a couture collection shaped by his enduring relationship with time and the way the West once imagined the mystique of the East.
East is Valaya’s interpretation of the West’s centuries-old fascination with India - viewed in the 17th and 18th centuries as a land of wonder, spirituality, and opulence. The collection draws from this romanticised lens and reimagines it for the present, told through three cultural chapters: the Balkans, the Far East, and India. Each segment traces a stylised journey - from the richly layered influences of the Near East to the meditative philosophies of the Far East, culminating in the splendour and heritage of India.
Ibrahim Ali Khan and Rasha Thadani close the show for JJ ValayaFDCI
Valaya pulled out all the stops for this one - cricketer Abhishek Sharma opened the show, while the dapper Ibrahim Ali Khan and Rasha Thadani closed it as showstoppers. Former models Rahul Dev and Mugdha Godse also returned to the runway, adding to the star power.
In an exclusive with Esquire India, the couturier reflects on the making of East - and the legacy he continues to build.
East explores how the West once imagined the Orient. What do you think they got right - and what have you, as a modern storyteller, chosen to correct or reinterpret?
I’ve always seen myself as a storyteller, a spectator, and a bit of a showman. When these identities come together, my collections become a curious blend of reality and fantasy. I’m deeply drawn to multiculturalism and maximalism, and when you combine the two, the world becomes your playground. India remains my greatest source of inspiration, along with the civilisations that once flourished along the spice and silk routes. There’s so much beauty that was painstakingly created in the past, and my mission is to ensure it isn’t forgotten. I constantly find myself going back into history, looking for elements that hold creative value - something lovingly crafted - and then bringing it back to the present. Reinventing that essence and reintroducing it to today’s world feels like a victory. That, to me, is the essence of what I do.
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Your collections often feel like time travel. When designing East, was there a specific historical detail like a painting, a poem or a garment that anchored or sparked the journey for you?
The spark for East came when I saw a piece of chinoiserie, an incredibly intricate and beautiful form. What struck me was how something so Eastern in its roots had evolved into a major European movement. That led me down a path of research, and I discovered how, particularly in the 17th and 18th centuries, the West was heavily influenced by the East.
For Western eyes, the East was this mysterious and exotic world full of wonder. They reinterpreted our cultures to suit their own sensibilities, whether it was through textiles, motifs, or design philosophies. Think of how our jamavars eventually inspired paisleys in Paris and Scotland. So it wasn’t a single moment or artefact. It was the broader idea of how the East has always fed the Western imagination, and how that legacy still continues.
What part of your own story do you think East reveals, consciously or subconsciously?
I never like to be too obvious in my storytelling. I lean toward subtlety. There’s never a literal translation of a thought or inspiration. Instead, I work with fragments of textiles, architecture, paintings, and even quiet memories that come together like a visual jigsaw puzzle. So while East may not reveal a direct piece of my story, it’s built from many intimate influences. There are hidden layers that say something about my fascination with history, culture, and beauty. And I do believe that when there’s so much beauty in the world, it should never be forgotten.
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Your bridal couture always carries a sense of ceremony and almost spiritual stillness. What is the emotion you’re most drawn to evoke when dressing someone for the most symbolic day of their life?
We’ve always called ourselves the Royal Nomads with a penchant for Art Deco. So naturally, everything we create carries a sense of grandeur, elegance, and craftsmanship while still making a statement. But for me, it’s not just about how the garment looks. What really excites me is how it makes someone feel. I’ve watched people literally transform in front of the mirror when they wear our pieces. That moment of quiet confidence, of feeling regal, is a high I never get tired of. At its core, royalty is our canvas. And from there, whether the emotion is spiritual or celebratory, everything builds on that foundation of timeless splendour.
