The Monarch of Maximalism
I was precisely 22 years old, armed with a brand-new press badge, an absurd amount of caffeine, and the delusion that I was fully prepared to interrogate a legend.
The address was tucked away in the heart of Delhi, hinting at the kind of quiet discretion that usually guards high-stakes secrets or unfathomable wealth. Upon stepping through the front door, I was immediately struck by an unexpected detail beneath my feet: a striking expanse of chevron floor tiles, laid out with calculating, hypnotic precision. Standing in that maximalist living room felt less like waiting for an interview and more like trespassing inside the lair of an international man of mystery; a room overflowing with rare artifacts, exuding an enigmatic grandeur that whispered stories of far-off lands and centuries-old courtly secrets. I remember pacing nervously, wondering if I was about to meet a brooding recluse, a stern dictator of design, or a secret operative for the aesthetic elite.
And then, exactly ten minutes later, the grand reveal.
Out stepped the imperial force himself; and in a move of completely accidental hilarity, we were both wearing crisp, stark white. Yes, I was inadvertently twinning with fashion royalty on day one. Whatever intimidating aura had filled the room instantly dissolved into laughter, kicking off a conversation that was as sharp as it was intoxicating. Now, watching the grand wheel of fashion spin full circle, I sit down once again with the man, the myth, the undisputed monarch of Indian maximalism: JJ Valaya.
To step back into the universe of JJ Valaya is to enter a world where history is not merely preserved in museum cases, but woven onto velvet, rendered in zardozi, and lived in real-time. As the House approaches a monumental 35 years, the maestro of grand Indian luxury is tackling a narrative that feels both deeply historical and surprisingly contemporary: SIDDI.
The collection draws inspiration from the Siddis of India; a community tracing their ancestry back to East Africa who have spent centuries shaping and absorbing the cultural fabric of the Indian subcontinent. But Valaya doesn't do literal costumes or superficial pastiche. Instead, he uses the collection to probe the idea of how memories and motifs cross oceans.
"SIDDI began with something that has always fascinated me;how cultures travel, meet, and evolve into new identities," explains JJ Valaya. "Rather than interpret this literally, we explored the ideas of movement, memory, and identity through our own couture vocabulary; intricate embroideries, rich textiles, layered surfaces, colour, and ceremonial silhouettes. The story may provide the inspiration, but the final expression must always remain unmistakably Valaya."
In an era of fast fashion and instant gratification, walking through the Valaya atelier feels like a quiet rebellion against time itself. Earthy tones of tobacco, deep forest green, and plush velvets serve as the canvas for heavy zardozi and aari work. Yet, when pressed on which single creation defined the technical threshold of this cross-cultural story, the designer points to a pattern that hits remarkably close to home.
"The couture interpretation of our iconic Shifting Leaves Chevron is particularly special," shares JJ Valaya. "It was originally created for my daughter Hoorvi’s wedding before making its couture runway debut, so it carries both personal and creative significance for me."
The piece exercises rare restraint in its palette; sticking strictly to black, beige, taupe, and metallic hues; to let the sheer mastery of execution command the room. "Layers of zardozi, aari, metallic embroidery, and intricate surface work required extraordinary precision and countless hours in the atelier," he reflects. "It is a piece where technique, patience, and artistry come together beautifully."
The conversation seamlessly drifts toward the evolving landscape of Indian menswear. For decades, the Valaya man was defined by unapologetic grandeur. Today, that grandeur is shifting toward something far more fluid and nuanced.
"The Indian groom has evolved enormously," JJ Valaya notes. "He wants individuality and modernity, but without losing his connection to tradition. SIDDI reflects that through fluid sherwanis, chogas, and jamas, and sharply tailored bandhgalas that feel contemporary in silhouette while remaining deeply artisanal in execution. The idea is to create menswear that feels relevant today, yet has the craft and permanence to become an heirloom."
Physical space has always played a starring role in the Valaya mythos; a fact I can personally attest to from that very first meeting surrounded by artifacts and chevron tiles. To coincide with SIDDI, the House is opening an expanded High Couture space at THE WORLD OF VALAYA.
"As we approach 35 years of the House, the expanded High Couture salon reflects both where we have come from and where we are going," says JJ Valaya. "It has been conceived as a more intimate and personalised couture experience, where bridal and bespoke clients can engage with the House at a deeper level. Ultimately, couture is about detail, individuality, and emotion, and the new space allows us to bring all three together."
As our conversation draws to a close, we return to the larger picture: where Indian high fashion sits on the global landscape today. For Valaya, the goal is no longer about proving the skill of Indian artisans; that is already universally acknowledged. It is about commanding the room with universal stories told through an unapologetically regional lens.
"Indian couture is already respected globally for its extraordinary craftsmanship," JJ Valaya concludes. "I believe the next opportunity is to combine that craft with stories that can resonate beyond geography. SIDDI speaks of movement, identity, and cultural exchange, but does so through an unmistakably Indian couture vocabulary. For me, the future of Indian high fashion lies precisely there; deeply rooted in who we are, yet completely confident in its conversation with the world."
